From the collection of the
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2006
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LIPPINCOTT'S HOME ECONOMICS TEXTS
EDITED BY BENJAMIN R. ANDREWS, PH.D.
TEACHERS COLLEGE, COLUMBIA UNIVERSITY
A GIRL'S PROBLEMS IN
HOME ECONOMICS
BY
MABEL B. TRILLING, A.M.
AND
FLORENCE WILLIAMS, A.M.
LiPPiNCOTT's HOME MANUALS
Edited by BENJAMIN R. ANDREWS, PH.D.
Teachers College, Columbia University
By LAURA I. BALDT, A.M., Teachers College, Columbia University.
454 Pages, 7 Colored Plates, 262 Illustrations in Text. Second Edition.
CCESSFUL CANNING AND PRESERVING
By OLA POWELL, Department of Agriculture, Washingt9n, D. C. 425
Pages, 5 Colored Plates, 174 Illustrations in Text Third Edition.
CLOTHING FOR WOMEN
By LAURA I. BALDT, A.
454 Pages, 7 Colored Plates, 2
SUCCESSFUL CANNING AND PRESERVING
By OLA POWELL, Department of Agricult
Pages, 5 Colored Plates, 174 Illustrations in T
HOME AND COMMUNITY HYGIENE
By JEAN BROADHURST, Ph.D. 444 Pages, i Colored Plate, 118 Illustra-
tions in Text. Third Edition, Revised and Enlarged.
THE BUSINESS OF THE HOUSEHOLD
By C. W. TABER, Author of Taber's Dietetic Charts, Nurses' Medical Die-
tionary, etc. 438 Pages. Illustrated. Second Edition, Revised.
HOUSEWIFERY
By L. RAY BALDERSTON, A.M., Teachers College, Columbia University.
353 Pages. Colored Frontispiece, 175 Illustrations. Third Edition, Revised.
LAUNDERING
By LYDIA RAY BALDERSTON, A.M., Instructor in Housewifery and
Laundering, Teachers College, Columbia University. 389 Pages. 188 Illus.
HOUSE AND HOME
By GRETA GRAY, B.S., Director of Home Economics Department,
University of Wyoming. 356 Pages. 189 Illustrations.
LIPPINCOTT'S FAMILY LIFE
SERIES
Edited by BENJAMIN R. ANDREWS, PH.D.
Teachers College, Columbia University
CLOTHING— CHOICE, CARE, COST
By MARY SCHENCK WOOLMAN, B.S. Illustrated. Second Edition.
SUCCESSFUL FAMILY LIFE ON THE MODERATE INCOME
By MARY HINMAN ABEL.
THE FAMILY AND ITS MEMBERS
By ANNA GARLIN SPENCER, Special Lecturer in Social Science, Teachers
College, Columbia University.
WOMAN'S SHARE IN SOCIAL CULTURE
By ANNA GARLIN SPENCER, Special Lecturer in Social Science, Teachers
College, Columbia University.
\
LIPPINCOTT'S HOME ECONOMICS TEXTS
EDITED BY BENJAMIN R. ANDREWS, PH.D.
TEACHERS COLLEGE, COLUMBIA UNIVERSITY
A GIRL'S PROBLEMS IN
HOME ECONOMICS
HEALTHFUL CLOTHING, DRESS DESIGN, CLOTHING
CONSTRUCTION, INTERIOR DECORATION, HOUSE-
HOLD TEXTILES, CARE OF THE HOME
BY
MABEL B. TRILLING, A.M.
ASSISTANT PROFESSOR OF HOME ECONOMICS,
UNIVERSITY OF CHICAGO
AND
FLORENCE WILLIAMS, A.M.
INSTRUCTOR IN ART, UNIVERSITY OF CHICAGO
148 ILLUSTRATIONS IN THE TEXT
PHILADELPHIA LONDON CHICAGO
J. B. LIPPINCOTT COMPANY
COPYRIGHT, 1926, BY J. B. LIPPINCOTT COMPANY
PRINTED BY J. B. LIPPINCOTT COMPANY
AT THE WASHINGTON SQUARE PRESS
PHILADELPHIA, U. S. A.
CONTENTS
CHAPTER PAGE
I. To THE GIRLS WHO USE THIS BOOK 6
II. THE SEWING MACHINE AND SOME THINGS TO MAKE 10
III. WHAT You CAN MAKE FROM THE KIMONO PATTERN 32
IV. How OUR CLOTHING KEEPS Us HEALTHY 61
V. How TO MAKE BLOOMERS 81
VI. How TO DRESS IN GOOD TASTE 109
VII. FABRICS THAT WE USE EVERY DAY 134
VIII. MAKING A DRESS 167
IX. A PLAN FOR BUYING YOUR CLOTHING 185
X. WHAT is YOUR SHARE IN HELPING TO KEEP HOUSE? 199
XL CARING FOR CLOTHING AS PART OF YOUR HOUSEKEEPING 223
XII. SOME LABOR-SAVING DEVICES FOR CLEANING 249
XIII. ARRANGING YOUR BEDROOM So IT Is ATTRACTIVE AND CON-
VENIENT 260
XIV. FURNISHING YOUR OWN ROOM: FURNITURE, WALLS, LIGHTING 270
XV. FURNISHING YOUR OWN ROOM: CURTAINS, RUGS, BEDDING 289
A GIRL'S PROBLEMS IN
HOME ECONOMICS
SUGGESTIONS TO TEACHERS
THIS book is designed for use as a text-book in the junior
high school or the beginning high school grades. The material
can be covered in two or three years' work, depending on the
age of the student and the amount of time devoted to home
economics. The authors have endeavored to select subject
matter based on the particular interests of girls of this age and
centered around their individual home activities. For this
reason, in the units of work which deal with the house, the
girl's own room, its care, arrangement and furnishing, have
been chosen as suitable units of work. Likewise, the units of
work in clothing construction, dress design and textiles deal
with problems closely related to the girl's special interests
and abilities.
The chapters dealing with the house and with clothing are
arranged in two separate sections. In each section the material
has been put into sequential order of increasing difficulty. It
is evident, therefore, that the beginning chapters in each section
are intended for the beginning classes and the latter chapters
for the more advanced classes. For example, where three
years of work are given, Chapters 2 and 3 on clothing and
Chapter 10 on the house are suited for use in the first year.
Chapters 4 and 5 on clothing and Chapters 11, 12 and 13 on
the house are suited for use in the second year and Chapters
6, 7, 8 and 9 on clothing and Chapters 14 and 15 on the house
for use in the third year. When the school program allows only
two years for home economics the material should be divided
so that the more elementary chapters on clothing and the
house are used in the first year and the more difficult material
l
2 SUGGESTIONS TO TEACHERS
in the second year. More material has been planned for the
second and third years because frequently more time is
devoted to the study of the subject in these years and also
because the older girls are able to cover the subject more
rapidly. A book written for general use can never fit the needs
of all school programs and it is assumed that these chapters
may be studied in any other order of arrangement that does
not interfere with the sequence of difficulties.
Emphasis has been placed on the intellectual content of
problems selected for study as well as on the acquisition of
technical skill. For example, the processes in construction are
introduced as problems to be solved by the children rather than
as dictation exercises. Teachers should take pains to keep
such lessons as these on the problem-solving basis. Pictures,
which are often used as a means of creating a problem situation,
should be supplemented by demonstrations and illustrative
materials supplied by the teacher. The intellectual content has
been stressed in connection with the study of patterns. The
problems have been organized around type patterns so that,
although the girl uses but one pattern, she understands the
modifications and variations of this type. The latter parts of
the Chapters, " What You Can Make from the Kimono Pat-
tern," " How to Make Bloomers " and " Making a Dress "
(Chapters 3, 5 and 8) are planned to give additional under-
standing of patterns without compelling the class to spend a
long time constructing more garments. Intellectual content
has also been emphasized in the housekeeping problems by
stressing methods of saving time and energy rather than the
mere doing of household tasks. Throughout the book, every
unit of subject matter has been treated so as to give the girls
training in thinking out home economics problems as well as
in acquiring skill.
This book attempts to provide for the formation of certain
habits, such as keeping our rooms in order, taking proper care
of our clothing and acquiring good habits with relation to cloth-
SUGGESTIONS TO TEACHERS 3
ing and health. In order to form a habit it is necessary to have
continued and correct practice. Certain devices, such as " The
What to Wear Club " and record sheets of home activities,
have been included to stimulate interest in continued practice.
It is necessary to use such devices or provide similar ones if
one wishes to insure the formation of good habits.
Home economics deals with the activities that are centered
around the home life of the girl. Any effective study of home
economics, therefore, must use the same materials and proc-
esses which she encounters in the actual situation. Insofar as
possible the classroom should provide an imitation of the real
situation in daily life which the girl will encounter. It is
because of this need for experience in real activities that it has
been suggested that the girls buy their own patterns and mate-
rials for their problems in clothing construction. This and
similar procedure often seem not to be worth the trouble unless
we understand their significance.
If the school is to provide adequate textile training it must
include the use of real textile materials. No amount of read-
ing will furnish the same understanding and appreciation of
textile materials. The study of Chapter 7, " Fabrics That We
Use Everyday," and Chapter 15, "Furnishing Your Own
Room: Curtains, Rugs, Bedding," will not be well done unless
it is accompanied by a study of real materials. It is often pos-
sible to obtain many of these materials from the girls' homes
and from manufacturers or merchants who are willing to
furnish them free of charge.
In real life a girl's problems in dress design and interior
decoration involve making selections, judgments and compari-
sons. Chapter 6, " How to Dress in Good Taste," Chapter 13,
" Arranging Your Bedroom So It Is Attractive and Conveni-
ent," Chapter 14, " Furnishing Your Own Room: Furniture,
Walls, Lighting," and Chapter 15, " Furnishing Your Own
Room: Curtains, Rugs, Bedding " suggest devices for practice
in making selections and comparisons. No amount of drawing
4 SUGGESTIONS TO TEACHERS
and painting will develop a corresponding amount of ability
in selection and judgment. The difficulties involved are quite
different. In drawing and painting, much attention must be
centered on the difficulties of technic, and in making a selection
attention must be given to analysis and comparison. Where
time permits teachers should devise further ways for practice
in making selections.
The subject matter which deals with textiles and art have
been organized in the fashion which has proved most satisfac-
tory in the experience of the authors. In the problems of
clothing construction, comparatively little attention is given to
textiles and art. Only those problems in art and textiles have
been considered which are directly related to the making of the
garment. Too much time devoted to the study of textiles and
art interrupts the project. The class loses interest and the
project is too long drawn out or again it is often not possible
to include certain textile and art topics which are valuable and
interesting to the girl. It has seemed best, therefore, to include
most of the art and textile subject matter in separate units for
study. Chapter 6 is devoted to the study of art problems in
relation to clothing and Chapter 7 is devoted to the study of
textiles. In Chapter 6 it is assumed that the class will purpose
to learn how to be well dressed. This in itself is a project and
need not be directly related to the making of a garment. In
Chapter 7 it is the aim of the girls to become better acquainted
with the textile fabrics that they use everyday. This, also, may
be a project in that the girls purpose to learn how to select and
use textile fabrics. According to this plan it is intended that
Chapters 6 and 7 be studied before Chapter 8. In Chapter 8,
the making of the dress is an application of the art principles
explained in Chapter 6 and the textile information in Chapter 7.
It is obvious, therefore, that although the subject matter has
been divided into three chapters, it is closely related, and that
a successful study of Chapter 8 will necessitate a previous study
of Chapters 6 and 7.
SUGGESTIONS TO TEACHERS 5
Each chapter includes tests which will help the teacher to
determine how well the subject matter has been mastered.
These tests should be used as an instrument for the improve-
ment of teaching. For example, certain difficulties encountered
by the class will indicate what topics should be retaught. The
proper use of these tests will also help to point out weaknesses
of individual students. Teachers will find it helpful to devise
other similar tests to use for retesting.
CHAPTER I
TO THE GIRLS WHO USE THIS BOOK
Your Clothing and Housekeeping Problems. — Every
girl has certain problems in regard to her own clothing. She
wishes to dress attractively and to keep her clothing clean and in
good order, she desires to wear the right clothing to keep her
healthy, sometimes she may plan how her dresses are to be
made and she may help to buy or make her new clothing when
it is needed. Every girl also has certain housekeeping respon-
sibilities that are her own. She keeps her own room in order
and she may help with the weekly cleaning.
A Survey of Your Clothing Problems. — As girls grow
older they begin to assume more responsibility for their own
clothing. It will be a good plan for you to make a survey of
your own responsibilities with regard to your clothing. Answer
the questions below and compare your answers with the
answers of other girls. How many of these things do you think
6
YOUR HOUSEKEEPING PROBLEMS 7
a girl of your age should be able to do? Can you think of other
things that a girl might do ? Add them to tWlist below.
1. Can you use the sewing machine t-/y
2. Can you plan a dress that is becoming in design and color
to yourself?
3. Can you make underwear and dresses for yourself?
4. Can you select suitable material for your clothing?
5. Can you tell whether material is durable and serviceable?
6. Can you mend the holes in your stockings?
7. Do you know how much money should be spent for your
clothing?
8. Do you know how to remove spots and stains from your
clothing?
9. Do you know enough about laundering so that you can
help your mother?
10. Do you wear healthful clothing?
Your Housekeeping Problems. — Make a survey of your
housekeeping problems just as you did with your clothing prob-
lems and find out how these compare with those of the other
girls in the class. Answering the questions below will help you
to do this. What other things can you add to this list?
1. Do you keep your room in order?
2. Can you make your bed properly and quickly?
3. Do you know the best way to clean your own room
every week?
4. Do you assume your share of responsibility in keeping
the bathroom clean?
5. Do you know how to arrange your room attractively
and conveniently?
6. Do you know how to hang pictures correctly?
7. Do you know how to select and plan attractive curtains?
8. Can you select good wall paper?
9. Do you know how to furnish a bed properly?
10. Do you know how to select an artistic lamp and where
to place it?
8 TO THE GIRLS WHO USE THIS BOOK
How This Book Will Help You. — Some of the things
that we have listed you may already know how to do, but will
want to know better ways of doing them. Other things you will
wish to learn how to do. As you grow older you will wish to
assume many responsibilities with regard to your clothing and
to take a larger share of housekeeping responsibilities. It was
to help you in just such purposes that this book was written.
How to Use This Book. — If you are to be successful in
your study of this book it will be necessary for you to keep
certain things in mind. 1 . As you read over an assignment that
your teacher has made, you will generally find a number of
questions that should be answered. Do not merely read these
questions but think out your answers carefully. Write the
answers so that you will be sure to have them at the next
class meeting.
2. Be sure that you study the pictures and diagrams care-
fully. Each picture will help to explain an idea to you and it
will be worth while to study it thoughtfully. Certain pictures
show the right and wrong ways to do things. \Vhen you look
at these pictures do not make up your mind the first instant as
to which is the right one. Read the text and think about the
pictures before you decide. For example, see page 63.
3. Many extra problems and projects to do at home and at
school are suggested in this book. You will make most progress
in your clothing and housekeeping problems if you do as many
of these extra things as you can, especially those that are sug-
gested for home work. Read the suggestion on page 14.
4. Much of your success will depend on your keeping up-
to-date with your work. If you find that you are behind the
other girls in your class, try to find out why you do not work as
fast as they do. There are suggestions throughout the book
that will help you to keep up-to-date. For example, read
" General Inspection for Speeding Up " on page 52.
5. You will find various criticisms and inspections that will
help you to keep your work up to a good standard and to be
HOW TO USE THIS BOOK x 9
I
an independent worker. See " Inspection of French Seams "
on page 44. These criticisms and inspections are meant to
help you find your own mistakes. If you use these criticisms
and inspections, they will help you to improve your work.
6. It gives every one a great deal of satisfaction to know
when they have done their work well. Many tests and checkups
have been included in this book so that you can find out what
progress you are making. When you find that you can not do
some of the tests correctly you should give additional study to
the topics that you did not understand, and then test yourself
again to see if you have really learned them.
CHAPTER II
THE SEWING MACHINE AND SOME THINGS
TO MAKE
EVERY girl knows how a needle is pushed through cloth,
drawing a thread after it, in order to make the stitches used in
ordinary hand sewing. She has also watched sewing machines
in operation and can recognize the stitching done on a sewing
machine. Yet she may not know how the stitch is made nor
how to use the sewing machine. To use a sewing machine
intelligently one should know something of the way in which
it works.
Watch your teacher or some one who knows how to use the
sewing machine and try to answer the following questions :
1. What power causes the machine to sew?
2. Does the person who is sewing have to pull the cloth to
make it move? Watch closely for this.
3 . How is the machine started ? Is it done entirely with the
feet?
4. How is the machine stopped?
5. What holds the cloth in place so that it will not slip? If
you do not know the name of this part of the machine,
you can find it on page 15.
6. What do you think will be most important for you to
learn first in operating a sewing machine?
Treadling. — The best answer to the last question is to
learn how to keep the machine going smoothly or in other words
to learn how to treadle. This means that you must learn how
to control the movements of your feet so that the machine does
not jerk. An easy way, when you practice treadling, is to have
no cloth or thread on the machine and to leave the presser foot
up. If you study the following directions carefully before you
go to the machine you will learn to treadle more easily.
10
NOT A SEWING MACHINE FOR EVERY GIRL 11
1. Move the chair close enough to the machine so that you
are comfortable and sit squarely on the chair.
^BJ Place both feet flat on the treadle. The most comfort-
able position is with the left foot on the upper left hand corner
of the treadle and with the right foot on the lower right hand
corner of the treadle.
3. Find out whether the balance wheel (the small wheel
above the table) should move forward or backward. This
differs in various makes of machines.
4. Place the right hand on the balance wheel and start it
in motion.
5. As the balance wheel turns the treadle will begin to move.
Continue the movement of the treadle with your feet and
try to get an even movement. There should be an even pressure
of heels and toes giving a uniform motion back and forth.
6. To stop the machine slow down the movement of the
feet and put your hand on the balance wheel to stop it exactly
when desired.
7. Practice treadling until you can do it smoothly and with-
out any jerks or letting the wheel turn in the wrong direction.
Another way to test the smoothness of your treadling is with
a piece of folded paper under the presser foot in place of cloth.
No thread is necessary because the holes in the paper made by
the needle will show whether you can treadle smoothly without
letting the wheel fly back in the wrong direction.
How to Use Your Time Wisely When There Is Not a
Sewing Machine for Every Girl. — It often happens that
there are not enough machines in a classroom so that each girl
has one. Below are some suggestions that will help you to use
your time to the best advantage.
1. It has been found best in learning to treadle not to
practice too long at one time. For example, two short practices
are better than one very long practice.
2. Before going to the machine to practice treadling or
before threading the machine or winding a bobbin you should
THE SEWING MACHINE
know exactly what you are going to do. Study the directions
while you are waiting for a machine so you will be ready for
your turn at practicing.
3. While waiting for a machine you can prepare your folded
papers and pieces of cloth for the practice exercises. See
pages 16, 17 and 18.
4. Another thing to do while waiting for a machine is to
study this chapter so that you can make a perfect score on the
test about the sewing machine at the end of this chapter.
5. Extra practice on the sewing machine at home will speed
up your work at school.
6. Sometimes it is wise to start work on the next problem
before you have finished your practice work on the sewing
machine. Then while you are waiting for a machine you can
use your time to advantage. There are several problems sug-
gested on page 25 that are suitable when one is learning
to sew.
7. Can you offer any other suggestions as to how to use your
time to the best advantage?
Winding the Bobbin. — As soon as you can treadle cor-
rectly you can
prove it by wind-
ing a bobbin. On
most machines
the stitch is made
by using two
1 2 threads, instead
of one as in hand sewing. One of these threads, called a bob-
bin thread, must be wound on a small spool. You can see two
different types of these small spools, called bobbins, in Fig. 1.
All machines are provided with bobbin winders because it
would be foolish to wind bobbins by hand when it can be done
so quickly on the machine. The bobbin winder is always placed
near the small wheel but different kinds are used on different
FIG.
THREADING THE MACHINE 13
machines. Since there are so many kinds of bobbin winders
only general directions can be given here. The exact directions
for using each winder are always to be found in the instruction
book which comes with each machine.
1. The movement of the needle should be disconnected.
This is done in different ways on different machines, generally
by pulling out the handle or turning the screw found on the
balance wheel. It is important to stop the movement of the
needle so as to save wearing out the needle.
2 . Place the bobbin on the winder.
3. Bring the belt into contact with the winder so that the
belt will turn the winder.
4. Place the spool on the spool pin and attach the end of
the thread to the bobbin according to the directions given for
your machine.
5. Start treadling, being careful to keep the thread smooth
with no loops. If you can not wind the bobbin without leaving
loose loops of thread, it means you can not treadle correctly.
The bobbin should not be wound too full or it will not turn
freely in the bobbin case.
Threading the Machine. — Although different makes of
machines are threaded somewhat differently yet there is a gen-
eral order for threading machines that is always to be followed.
If you understand this general procedure in threading machines
you can puzzle out how to thread any machine. Read the
following directions and study Fig. 2 before you attempt to
thread your machine.
1. Turn the hand wheel so that the needle is at the highest
possible point.
2. Place the spool of thread on the spool pin.
3. Put the thread through the thread guide.
4. Draw the thread between the tension discs and through
the loose guide if there is one. The tension is located differently
on different types of machines. It may be on the front or on
the side.
14
THE SEWING MACHINE
5. Put the thread through the take-up. This is the little
lever that moves up and down.
6. Put the thread through the wire guide.
7. Put the thread through the eye of the needle from left
to right.
After you have had a trial at the sewing machine you will
find the following kind of practice to be helpful. Close your
FIG. 2.
eyes and try to remember the exact order of steps in threading
the sewing machine. Go through the motions of each step,
moving your hands exactly as you would in manipulating the
thread. This dummy practice will accustom your hands and
arms to the larger motions.
Something to Do at Home. — 1. Try threading your machine
at home to see if you can carry out these general directions.
2. Ask your mother if she has any bobbins she would like
to have you wind for her.
The Lower Thread. — The bobbin which is to hold the
lower thread should be put into a bobbin case or a shuttle. The
end of the thread is drawn through the slit and notches in the
DRAWING UP THE LOWER THREAD
15
bobbin case or shuttle. It is not easy to understand how this is
done unless you see it demonstrated. Ask your teacher to
demonstrate this so that you can see how to do it for yourself.
Drawing Up the Lower Thread. — The next step is the
same for all machines. The lower thread must be pulled up from
below the table so that both the upper and lower thread can be
FIG. 3-
pulled out behind the presser foot. The thread can be pulled
up according to the following directions:
1. Turn the balance wheel so that it revolves once, making
the needle go down and come up once.
2. Pull on the upper thread making the lower thread come
up as in Fig. 3.
3. Catch hold of the loop and draw the thread out behind
the presser foot.
4. Draw both threads back beneath the presser foot as
shown in the second picture of Fig. 3. The upper thread should
be drawn between the toes of the presser foot.
The lower thread must be drawn up before beginning to
stitch, otherwise the beginning of the stitching will be knotted
and tangled.
Speed Contest in Threading Machine Correctly. — 1. Ar-
range to work in pairs or in groups according to the number
of machines and the number of girls in the class.
2. Have some one time you while you thread the machine.
16
THE SEWING MACHINE
No score for time should be counted unless the machine is
threaded correctly. The threading is to include the upper
thread, the bobbin thread and
the pulling up of the lower
thread.
3. After the time for each
member of the class has been
recorded, you can find out
what was the shortest time
required. It will be fun to
try to beat this record and to
improve on your own record.
Starting to Stitch. —
You will find it easier to
begin your stitching on pieces
of folded paper rather than
on cloth. Be careful not to
pull on the paper or cloth
while you are stitching be-
cause it may break the
needle. The cloth will move
as fast as it should go. There
are various things to be
learned in stitching such as
following a straight line, or a
folded edge, turning corners,
and finishing at the ends.
There are some practice ex-
ercises on which you can
learn these various things.
Draw some straight lines on
a folded paper and see if
you can follow them exactly
with the stitching. It will be better practice to have the paper
four or five times as large as the diagram above.
After finishing a line of stitching and when removing
the work from the machine be sure to stop with the
STARTING TO STITCH
17
needle at its highest point. Pull the threads back between
the toes of the presser foot before breaking. This prevents
the strain of bending the needle.
Fold the edge of a piece
of paper like a hem and
stitch the hem down, using
the edge of the presser foot
as a guide as shown in the*
diagram.
Draw some curved lines
and try to follow them with
the stitching.
Use a folded piece of
cloth and practice turning
square corners. This is done by leaving the needle down
through the cloth, raising the presser foot, turning the cloth
into the proper position, then
lowering the presser foot
again, and continuing to
stitch. A square turn cannot
be made unless the needle is
left down through the cloth
while the cloth is turned.
Practice retracing the
ends of the line of stitching for one-half inch so as to make a
neat and strong finish. This retracing should be done at the
beginning and at the finish
of each line of stitching as
shown in the diagram. The
needle must be left down
while the cloth is turned.
The retracing should fall ex-
actly on the line of stitching.
Where should the needle be
put down first to make the retracing at the beginning of the
line of stitching?
Another way of finishing a line of stitching is to pull both
18 THE SEWING MACHINE
threads to the same side of the cloth and tie them in a knot.
After the knot has been tied the ends can be trimmed off about
one-eighth inch long.
Inspection of Your Machine Stitching. — Criticize your own
and your neighbor's stitching on these exercises for the follow-
ing things. Remember when you criticize to mention the good
as well as the poor things.
1. Is the stitching straight or wobbly?
2. Are the corners square?
3. Are the ends retraced properly?
4. Are the ends tied neatly?
Length of Stitch. — It is possible to change the length of
stitches in machine sewing just as it is possible to take long or
short stitches when sewing by hand. The length of stitch is
changed by moving the stitch regulator which is located near
the bobbin winder and balance wheel. Sometimes this regu-
lator is a handle which slides back and forth and sometimes it
is a screw which is turned. Long stitches are best suited to
thick, heavy materials and short stitches to thin materials.
1. Experiment with changing the length of stitch. Try to
get a sample of stitching with a very long stitch and another
with a very short stitch.
2. Try to do a sample of stitching with the best length of
stitch for material such as gingham or muslin.
Tension. — Tension is best explained by placing a thread on
the table, pressing your finger on it and then pulling on the
thread. Press your finger down hard on the thread and then
pull. If you press lightly on the thread the tension is loose, if
you press hard the tension is tight. As you remember, when
threading the sewing machine the thread passes between two
little steel plates, called the tension discs. These plates can be
made to press together more tightly or loosely by turning the
screw. If the tension is too tight the thread may break, or, if
it is too loose the thread may run through too rapidly and
cause the stitching to be knotted and looped.
There is a tension on the lower thread as well as the upper
THE SEWING MACHINE NEEDLE
19
thread but this seldom needs adjusting. It is generally possible
to regulate the tension properly by adjusting the upper tension
only. The first line of stitching in Fig. 4 shows a stitch in which
the tension is perfect, the upper and lower thread each being
drawn to the center of the cloth. It looks exactly alike on both
sides. The second part of the picture shows a stitch in which
the upper tension was too tight, causing the thread to lie flat on
top of the cloth. If the tension on the upper thread is too loose
FIG. 4.
flMjyyyut
it may make a stitch in which the lower thread lies flat and is not
drawn into the cloth. When the tension is very loose it may
form loops on the underside of the cloth.
1. Examine the machine stitching on your clothing to see
if the tension was properly adjusted.
2. Examine a sample of the stitching from your machine to
see if the tension is correct.
3. Where is the tension located on the machines in your
classroom? On your machine at home?
The Sewing Machine Needle. — A sewing machine needle
differs from an ordinary sewing needle in two ways. The eye is
in the point of the needle and at the other end is a thickened
part called the shank. One side of the shank is flat so that it
will fit into the needle bar which holds it in place. The first
picture of Fig. 5 shows an ordinary sewing needle as compared
with a sewing machine needle. In Picture 2 of Fig. 5 the sew-
ing machine needle is ready to be slipped up into the needle bar.
The flat side is always toward the screw on the needle bar. If
the needle is not put in properly it may break or cause the
thread to break.
THE SEWING MACHINE
FlG- 5-
How the Stitch Is
Made.— The needle
moves up and down
through the little hole in
the table, carrying the
thread down and pulling
it up again each time.
Picture 3 in Fig. 5 shows
the needle ready to carry
the thread down through
the hole. To push an
ordinary needle up and
down through a piece of
cloth would accomplish
nothing. How is it that the machine makes a stitch? After all,
the thing that happens below the table is not so mysterious. As
you know, there are two threads used in the sewing machine,
one below and one above the table. When the needle carries the
upper thread down through the little hole it is looped around
the lower thread, locking them together to make the stitch.
FIG. 6.
There are different ways of looping the upper thread around
the lower thread. One way is shown in Fig. 6. As the needle
takes the upper thread down it makes a loop as in the first
picture of Fig. 6. The lower thread is in a shuttle which moves
backward and forward. This shuttle moves forward, passing
through the loop as shown in Picture 2 of Fig. 6. Picture 3
HOW THE CLOTH IS HELD IN PLACE
shows the needle pulling the upper thread up around the lower
thread. When the threads are drawn tight it makes a stitch.
Another way of looping the upper thread around the lower
thread is shown in Fig. 7. This type of bobbin rotates as shown
by the arrows. A hook catches the upper thread and carries
it down and around the bobbin so that it comes up on the other
side of the lower thread. This makes the stitch when the
threads are drawn tight.
Examine the machines in your classroom and at home to see
FIG. 7-
if you can tell how the stitch is made. In some machines it
possible to see below the table and as the needle is moved
and down very slowly you can see the stitch being madeO
How the Cloth Is Held in Place.— As you watched the
machine stitching, you noticed that the cloth is held firmly
and moves constantly, so that a continuous line of stitching is
formed. The part of the machine which holds the cloth in place
is called the presser foot and can be raised or lowered by means
of a handle. Picture 1 of Fig. 8 shows the foot raised with the
handle up. This picture also shows the p'art of the machine
which causes the cloth to move. This part is called the feed and
consists of small teeth which catch hold of the under side of the
cloth and pull it along. These teeth move the cloth along just
as your fingers do when you are sewing by hand. In Picture 2
of Fig. 8 a piece of cloth has been put in and the presser foot
lowered to hold it in place. The feed is underneath the cloth,
ready to move the cloth along when the stitching is begun.
THE SEWING MACHINE
FIG.
What Makes the Machine " Go." — In order to make the
stitch properly, the parts of the machine, the needle, the bobbin
case or shuttle, and the feed must all move at the same time.
A sewing machine is so wonderfully put together that all these
complicated parts can be made to move by simply moving one
part of the machine.
If you will examine
Fig. 9 you can see
how all the parts of a
sewing machine are
connected. The
orange color shows
the parts which move.
The picture shows
the rods inside the
top part of the machine which connect the needle bar with the
wheel at the back and also the rods which connect the shuttle
with this same wheel. This small wheel is connected with
the large wheel below by means of a leather belt. Therefore,
when one wheel moves the other also moves and since the rods
are also connected with the small wheel they too move. The
large wheel is connected with the treadle by a rod which is
fastened to this wheel at a point just away from its center.
The treadle moves up and down, causing the large wheel to
revolve, which in turn revolves the small wheel. This causes
the connecting rods to move, thus moving the needle, the
shuttle, the feed and other parts.
After studying the picture see if you can follow the way
these parts are connected in a real machine.
Care of the Sewing Machine. — You have learned that the
sewing machine is a complicated piece of machinery. Any
machine from which one expects to get good service must be
well taken care of, and there are a few things you should do for
the machine you use. This applies when you use a machine that
is not your own as well as when it is your own personal prop-
erty. Be sure to do your share in caring for the machines in
your classroom.
CARE OF THE SEWING MACHINE
1. The head of the machine should be let down or covered
when not in use so that it will not get dusty.
2. Dust the machine with a soft cloth before using it.
24 THE SEWING MACHINE
3. Let the head down slowly so that it will not be jarred.
4. From time to time the machine should be oiled, in order
to make it run easily and to save wear on the parts.
When a machine runs hard it may be that the machine
needs oil.
Causes for Difficulty When You Are Stitching. — In your
future work on the sewing machine you may have difficulty
occasionally with the thread breaking, the needle breaking and
the thread knotting. You should know the causes for these
difficulties and be prepared to remedy them yourself. Instead
of bothering your teacher, consult this page in your book and
\ try to make the repair yourself,
-^f the upper thread breaks:
1. The machine may not be properly threaded.
2. The tension may be too tight.
3. The needle may not be set correctly.
i 4. The needle may be too fine for the thread.
/ 5. The needle may be crooked.
/If the lower thread breaks:
1. The shuttle may be incorrectly threaded.
2. The bobbin may be too loosely wound.
3. The bobbin may be too full.
4. The hole in the steel plate may be rough and cut the
thread.
5. The lower tension may be too tight.
.i stitches are skipped:
\1. The needle may be blunt or crooked.
2. The needle may not be correctly set.
3. The thread may not be the right size for the needle.
;he needle breaks :
1. The material may have been pulled.
2. The presser foot may be loose and in the way of the
needle.
3. The needle is too fine for the material.
A GOOD CITIZEN IN YOUR SEWING CLASS 25
If the material puckers:
1. The upper tension is too tight.
2. The stitch is too long for the material used.
3. The needle is blunt.
4. The hand holds the material and prevents it from feed-
ing through as quickly as it should.
Are You a Good Citizen in Your Sewing Class. — Your
sewing class is a small community in which each member has
certain responsibilities. Discuss with your class what each girl
should be expected to do to make the sewing room a good work-
shop. Decide what each girl can do to be a good citizen in your
sewing class.
1. Who should close the sewing machines at the end of the
class period?
2. Who should put away your scissors, thread and other
sewing equipment?
3. Whose responsibility is the general order of the room?
The clearing of the tables? The placing of the chairs?
4. How much talking do you think there should be in a
good workshop?
5. Do you ask for help from your teacher more often than
is necessary? Do you take more of her time than is
necessary?
THINGS WITH STRAIGHT EDGES TO MAKE ON THE
SEWING MACHINE
Some girls may already know how to do the things described
in the remainder of this chapter. If so you need not make any
of these articles and can prove your skill by making a perfect
score on the test at the end of the chapter. Even though you
do not make any of these things, it will be a good plan for you
to read the following pages. Every girl should be able to make
a perfect score in these tests.
Articles with hems and seams on straight edges are easy
to make because it is not difficult to cut them out, it is easy
26 THE SEWING MACHINE
to put them together, and it is easy to use the machine on
straight edges. If you have not had experience in sewing it
will be wise for you to choose one of these for your first prob-
lem. There are several things needed about the house from
which you may choose: curtains, pillow-cases, sheets, towels,
dresser scarfs, sofa pillow tops, laundry bags and shoe bags.
If you should choose to make a laundry bag or shoe bag be
sure to plan it so that it can be put together easily and requires
a minimum amount of handwork.
Straightening the Edges of Cloth. — The first thing to do
in making any article with a straight edge is to straighten the
edges of the cloth. To straighten the edge of cloth means to
make it straight with the thread of the cloth. The quickest and
simplest way to do this is by tearing. However, certain kinds
of cloth will not tear straight with the thread. In such a case
one way of straightening the edge is to fold the cloth carefully
on a thread, crease it and cut with the scissors. Another method
FIG. 10
of straightening edges when material does not tear easily is to
pull a thread and then cut where the thread is pulled. Have
you seen your mother pull a thread when she was making some-
thing for your home? Which of these methods do you think
will be most suitable for the article you intend to make?
Plain Seam. — Whatever problem of this type you choose
to make you will find that it requires either a plain seam, a hem,
or perhaps both. A plain seam is made by sewing two edges
of cloth together as shown in Fig. 10. If the material is smooth
A HEM
and creases easily it will not be necessary to baste the seam.
The two edges can be pinned together and the stitching done
accurately without basting.
Basting. — In case you are using a kind of material that
FIG. it,
does not lie flat and crease easily it will require basting. This
is a temporary stitch for holding the work in place. It is done
by taking stitches as shown in Fig. 1 1 . How is the stitch begun
and how is it finished so that it will not ravel out? Basting
should be done so that it holds the material firmly in place with-
out slipping. Therefore, the length of stitch depends on what
is being basted and the kind of material being used. What
FIG. 12.
length of stitch should be used for a soft material that does
not crease well?
A Hem. — In case of the hem as with the seam there is no
need of basting if the material is firm and creases so that it lies
flat. Fig. 12 shows how a hem should be turned and pinned to
28 THE SEWING MACHINE
prepare it for stitching. In making a hem, the first fold is
turned to the wrong side and creased. This turn should be
from one-eighth to one-quarter inch in width depending on the
article. For example, the first turn on the hem of a skirt would
be wider than on the hem of a handkerchief. The width of the
second turn also varies according to the article. In order to get
this turn even, it is helpful to use a little device called a gauge.,
FIG. 13. Cut the gauge from heavy paper or thin
cardboard. Measure from one end and
cut a notch at the desired width. Fig.
13 shows how a gauge for a one inch
hem would look. The hem should be
stitched according to the directions given in the practice exer-
cise for stitching a hem on page 16.
A Thimble. — It is necessary to wear a thimble if you ex-
pect to do good sewing. Experts always wear thimbles because
it helps them to sew better and more rapidly. The thimble is
worn on the third finger of the hand which holds the needle
and is used to push the needle through the cloth. The thimble
on your finger is like the needle bar on the sewing machine
which pushes the needle through the cloth. Even though you
are awkward at using a thimble now, you will soon find that
you can sew better and more rapidly when you are wearing one.
Something to Do at Home. — 1. Ask your mother if you can
help ner do the stitching when she is sewing.
2. Is there anything needed at home that you can make?
You should be able to use what you have learned
about stitching on the machine, making hems and
making plain seams.
3. Report to your class what use you have made at home
of what you have learned in this chapter.
A Reminder When You Sew. — Of course you have
learned that it is best to sit in a good position when you are
sewing or reading. It is not that we do not know this but we
sometimes forget to do it. We should form the habit of sitting
SEWING MACHINE CONTEST 29
in a good, comfortable position. Do you know what it means to
form a habit? Can you think of any way to remind yourself
to form the habit of sitting in a good position while you are
sewing? This means while you are sewing either at the machine
or at the table. And it means that you will remember to do it
when you sew at home as well as at school. Discuss with your
class what is a good position.
SEWING MACHINE CONTEST
If you have learned the important things about the use of
the sewing machine you will be able to make a perfect score in
the following contest. Read each statement and copy on your
paper the answer which is correct. There is only one answer
which is correct for each problem. Copy the statement fol-
lowing the Roman numeral in each problem and then add the
one statement out of the three given below which you think
is correct.
I. In order to treadle smoothly:
^ 1. Press on the treadle with an even pressure of the
heels and toes.
2. Press harder with the toes.
3. Press harder with the heels.
II. The general order for threading the upper thread is:
1. Spool pin, take-up, tension, thread guide, needle.
Spool pin, thread guide, tension, take-up, thread
guide, needle.
3. 'Spool pin, tension, thread guide, needle.
III. The lower thread should be drawn up before beginning
to stitch because otherwise:
1 . It may break the needle.
2. It may cause the stitch to be too short.
; 3. It may cause the stitch to knot or tangle.
30 THE SEWING MACHINE
IV. To turn a square corner in machine stitching you
should :
2*1. Leave the needle down, raise the presser foot, turn
the material, lower the presser foot.
2. Leave the needle up, raise presser foot, turn
material and lower presser foot.
3. Leave the needle down, turn material and con-
tinue stitching.
V. To remoVe the work from the machine :
1. Pull the work toward you before breaking the
threads.
2. Pull the work straight back under the presser
foot.
3. Pull the work to the right.
VI. The tension should be properly adjusted because
otherwise:
1. The stitch is too long.
2. The stitching will be crooked.
•^3. The stitching will not be alike on both sides.
VII. Tension should be judged by examining:
> 1. Both sides of the stitch.
2. The under side only.
3. The ease with which the thread pulls.
VIII. If the needle breaks it may be caused by:
>\. Pulling the material.
2. Having the stitch too long.
3. Winding the bobbin too full.
IX. If the upper thread breaks it may be caused by:
1. A stitch that is too short.
>2. Incorrect threading of the machine.
3. Failure to oil the machine.
TEST ON HEMS AND SEAMS 31
X. The stitch is formed:
1. By pushing the needle in and out through the
cloth as in hand sewing.
^2. fey looping the upper thread around the lower
thread and pulling both threads tight.
3. By pushing the needle up and down through the
cloth.
To score your paper give each correct answer 5, so that if
you have a perfect paper your score is 50.
A TEST ON HEMS AND SEAMS
Some of the following statements are true and some of
them are false. Read the first sentence. If you think it is
true, write the word True on your paper, or if you think it is
false write the word False. Do the same for each of the state-
ments and number your answers to correspond with the num-
bers in the book.
1. Selvedge edges are suitable for use in the plain seams of
a laundry bag because they do not ravel.
2. The first turn in making a hem should be one-fourth of
an inch in width.
3. It is necessary to baste a hem so as to have a guide for
the stitching.
4. The simplest way to straighten cloth is by tearing.
5. Basting stitches should always be one-half inch long.
6. The thimble should be worn on the third finger.
7. A gauge is helpful in turning a hem to an even width.
8. It is impossible to straighten the edges of cloth accu-
rately without pulling a thread.
9. Basting should be fastened with two or three small
stitches to prevent its pulling out.
10. The width of the hem depends on the article being made
3
CHAPTER III
WHAT YOU CAN MAKE FROM THE KIMONO
PATTERN
The Kimono Pattern. — There are several garments that
can be made from the kimono pattern. Some of these, a
kimono, nightgown and apron dress, are shown in the pictures
in Fig. 14. If you understand how the kimono pattern is put
FIG. 14.
together it will be easy for you to make any of them. Did you
ever make a dress for your doll by cutting the whole dress out
of one piece of cloth? This means that the dress and sleeves
are cut in one piece and that it is the type of pattern that we
call the kimono pattern.
Experimenting with the Pattern. — If you will experi-
ment with cutting some small paper patterns you will be able to
understand better a pattern for yourself. Try cutting a small
32
EXPERIMENTING WITH THE PATTERN
33
pattern out of notebook paper or wrapping paper. After each
girl in the class has cut a pattern, pin all the patterns up in front
of the room where they can be compared. Examine these pat-
terns and answer the following questions.
1. How many papers were folded and cut so that the pat-
terns are like Picture 1 in Fig. 15? How many are
like Picture 2? How many are like Picture 3?
2. In which of these three types of patterns will the front
FIG. 15.
and back be alike? In which pattern will the two
halves of the garment be alike?
3. Which of these three ways of folding the paper will make
a pattern in which both sides are alike and also seams
that are equal in length?
4. Do you think it necessary when cutting a paper pattern
to cut both halves? How can you use a pattern for
half a garment and cut a whole garment from cloth?
5. How can you use a pattern for one-fourth of the garment
and cut a whole garment from the cloth?
In commercial patterns which you may buy, only half the
34
THE KIMONO PATTERN
pattern is given. Fig. 16 shows such a pattern with half the
back and half the front. If the pattern is laid on folded cloth
FIG. 16.
the whole garment can be cut with both sides exactly alike.
Which edge will have to be placed on the fold?
Making a Pattern. — If you wish, you can make your own
for your kimono garment. In making the pattern tljere
three measurements that are particularly important. /The
length from the shoulder to the bottom including the hem, the
width across the chest and the width across the bottom. Pic-
FIG. 17.
ture 1 of Fig. 17 shows where these measurements should be
taken. The size of the neck, width of the sleeves, and length of
MAKING A PATTERN 35
the sleeves must also be measured as shown in Picture 2 of
Fig. 171 Each of these measurements should be determined
carefuMy. In order to get these measurements accurately it is
helpful to measure some garment that you know is the right
size. Should the sleeves be fitted tightly or loosely in the
kimono type of garment?
The easiest way to cut a pattern is by marking it out on a
large sheet of paper as shown in the second picture of Fig. 17.
Notice that the pattern is marked out so that two edges of the
paper make two edges of the pattern. Why is it better to have
the pattern placed in the corner of the paper than in the middle?
Can you find the arrows which point out the measurement from
the shoulder to the bottom? After you have marked off this
distance on your paper it is best to mark next the distance from
the front edge of the pattern to the end of the sleeve. The line
which points out this measurement in the diagram is No. 2.
Next, the measurement for the width of the sleeve should be
found, then the width across the chest and the width at the
bottom of the kimono. Why are the measurements across the
chest and the bottom different? Last, the line for the neck
must be marked. Measure across the top edge of the paper
from the corner and make a dot for the end of the curved line.
Remember that this is one-half the width of the whole neck in
your garment. The measurement down on the front edge from
the corner should not be more than one-half inch. Otherwise
your garment will be cut too low in the back of the neck. The
line for the front of the neck can be cut lower after the kimono
is partly made. Note the slightly curved line at the bottom
of the pattern. Why can it not be cut straight across? Notice
also the curve under the arm.
Picture 1 in Fig. 18 shows a pattern in which there are two
bad mistakes, the neck is too large and the garment is too
narrow across the chest. Picture 2 shows two different ways in
36
THE KIMONO PATTERN
which pieces may be added in order to make the sleeves longer.
It is necessary to do this when the material is not wide enough
to cut long sleeves. One of the sleeves in Picture 2 is made so
FIG. 1 8.
that it hangs down. Do you know in what country the people
wear kimonos with such sleeves?
Selecting Your Patterns. — Decide with your teacher
whether it will be best for all the girls in the class to make the
same garment or whether it will be possible for some girls to
make different garments, such as the nightgown, the kimono
and the apron dress. It may happen that some girls will have
a particular need for one of these garments. If the class has
decided to buy commercial patterns, it will be economical to
buy as few patterns as possible. All the girls of the same size
might use one pattern. Patterns for girls are bought accord-
ing to ages. If you happen to be large or small for your age
you should buy the pattern according to bust measure. Take
your bust measure and find out what age corresponds with your
size bust measure.
1. Decide how many patterns and what sizes will be re-
quired for your class.
STUDY OF THE SAMPLES 37
\\
Appoint a committee to purchase the patterns before the
next lesson.
Selecting Your Material. — The best way to select mate-
rials is to have a number of samples from which to choose.
There are certain materials that are suitable for each of these
garments which you should consider before making your choice.
Materials suitable for nightgowns are outing flannel, Berkley
or Lonsdale cambric, crepe and longcloth. Two materials suit-
able for the kimono are crepe and flannelette. Some of the
materials suitable for the apron dress are gingham, percale
and chambray.
Appoint a committee to go to the stores and get samples of
these materials and any others which are suitable for your
garments. The committee should get the price and width of
each material and ask if the colored materials are guaranteed
not to fade.
Study of the Samples. — If you are to buy materials wisely
you must learn first of all to recognize materials and to judge
them for their quality and suitability. There are several kinds
of underwear material from which the nightgown might be
made. Your committee has probably brought in Berkley and ^^
Lonsdale cambric, crepe and longcloth. It is always easy[i0^
recognize crepe because of itscjinil^-strrface. Can you think
of other words to describe the feeling and appearance of crepe?
If you compare the cambric with the longcloth you can see that
the cambric has a smoother, more shiny surface than the long-
cloth which is soft and duller in appearance. Can you shut
your eyes and tell the difference by feeling them? Examine the
other samples of underwear material that have been brought in
and note the difference in appearance and feeling. This will help
you to recognize them. How would you describe the surface
of outing flannel?
The most commonly used kimono materials are crepe and
flannelette. Crepes suitable for kimonos come either in plain
colors or in printed patterns. Flannelette, like outing flannel,
38 THE KIMONO PATTERN
has a soft, fuzzy surface and may be bought in plain colors or
in printed patterns.
Among the samples of materials suitable for apron dresses
that the committee should have brought in are gingham, cham-
br'ay and percale. Each of these materials is easy to recog-
nize. Percale has a pattern printed on one side and is finished
with a rather glossy surface. The pattern is generally made up
of small, geometrical figures. Gingham is different from percale
in that the pattern is woven instead of being printed. The
pattern in this material is usually woven in stripes, checks or
plaids. Examine the right and wrong sides of the samples of
percale and gingham and compare them. It also helps to see
how the pattern is made in each material if you ravel out a few
threads. Chambray is always made with colored threads one
way and white threads the other way. Which way of the cloth
are the colored threads woven?
The Cotton Cloth Contest. — Your teacher will hang twelve
samples of cotton cloth on the wall. Each one will have a
number. Make a blank on a piece of paper like the one shown
below. Examine the sample closely and fill in the name of each
of the samples.
1 5 9
2 6 10
3 7 11
4. 8. 12
Tests for Judging Materials. — You should be able to
judge qualities of materials as well as to know names and kinds
of materials. One way of judging materials is by the firmness
and evenness of the weave. Ways in which to judge the firm-
ness and evenness of weave are suggested below. Why do you
think it is desirable to have an even, firm weave?
i. Pull the material between the fingers to see if the threads
7 spread easily. In firm materials the threads will not
pull apart easily.
HOW MUCH MATERIAL WILL YOU NEED? 39
2. Hold the samples up to the light and compare the even-
ness of weaves.
3. Examine the samples and estimate which ones have the
most threads to the inch. The more closely woven
materials should be the more durable.
Materials, especially those used for underwear, are some-
times finished with a kind of starch which fills up the open
spaces in a loosely woven fabric. When the cloth is washed this
starch comes out leaving a sleazy material.
1. Examine the samples to see if you can tell from their
appearance if there is a great deal of starch or sizing
in them.
2. Wash one-half of each sample to see if the material re-
mains firm. It is advisable to cut each sample in
halves and save one-half without washing so as to
compare it with the part that has been washed.
Colored materials should be tested for fading before they
are purchased. Appoint a committee to wash one-half of each
colored sample so as to test for fading. Be sure to use warm
water and soap as you would if you were really washing a
garment. The samples can be 'dried with a hot flatiron to
hasten the drying.
There are many other things that you may wish to know
about how cloth is made. These things you will learn later
when you have worked with more materials.
How Much Material Will You Need? — W7hether your
class decides to make their own patterns or to buy commercial
patterns, you must estimate the amount of material that will
be required.
Before you read the next paragraph, see if you can tell what
three things will determine how much of a given material you
will have to buy to make a kimono garment for yourself or any
other person. Two of these things you can think of easily.
Perhaps you can tell the third also.
40
THE KIMONO PATTERN
[The amount of material depends upon three things, your
height, the kind of sleeves you wish to have, and the width of
the material./ You have already learned that the amount of
material required is twice the length of the garment plus the
width of the hem. If you wish to have long sleeves you will
probably have to buy extra material for the pieces that have to
be added to the sleeves. Materials generally come about thirty
or thirty-six inches wide. In Fig. 19 you can see how it is pos-
FIG. 19.
sible to cut longer sleeves from the thirty-six inch material.
If you wish to have long sleeves and are using narrow material
you will have to buy extra material for the pieces which are
added to the sleeves. If you are using bands to finish the open-
ing of the kimono it will also require extra material. Bands
may be cut either lengthwise or crosswise of the material. Can
you see a place on the thirty-six inch material from which to
cut lengthwise bands without buying more material? Will it be
more economical to have lengthwise or crosswise bands if you
are using thirty inch material?
TESTING AND ALTERING YOUR PATTERN 41
Ordering Your Material. — Each girl should decide what
material it will be best for her to buy. Remember when you
buy material:
1. This is a beginning problem and it would not be wise for
you to buy expensive cloth.
2. Select a material that is suitable for the garment that you
are to make.
3. Select a material that is serviceable according to the
tests given on pages 38 and 39.
Each girl should write out on a piece of paper the informa-
tion asked for below. This should be approved by your teacher
before you buy your material.
Name Width
Garment Price per yard
Long or short sleeves Number of yards
Kind of material . Total cost
Testing and Altering Your Pattern.— Hi you are using a
commercial pattern the first thing to do is to test it for size.
FIG. 20.
Measure it from the top to the bottom to see if it is long enough,
and across the chest to see if it is wide enough for you. It is
also a good plan to decide on the length of the sleeve and test
the pattern to see if it is correct. With your tape measure
find the distance from the neck down over the shoulder to the
42 THE KIMONO PATTERN
bottom of the sleeve. Can you see where to lay your tape
measure on the pattern in order to test this measurement?
If it is discovered that the pattern is too short when meas-
urements for the length of the garment are taken, the. extra
length can be allowed at each end. Care must be taken to
keep the bottoms curved exactly like the pattern. If the pattern
is too long it can be shortened by taking a plait in it about six
inches from the bottom. See Fig. 20. It is better to take a
plait than to cut off the bottom of the pattern because it makes
the pattern narrower at the bottom when cut off.
Cutting the Garment. — In making your garment you will
find it most helpful to work with a partner. It is easier for
two people to help each other in handling patterns, taking
measurements, and fitting the garment than to do it alone.
Study the directions which come with the pattern.
1. Are the seams allowed on the pattern?
2. What sign is used to tell you which edge of the pattern
is to be placed on the lengthwise fold of the material?
3. What are the notches on the underarm seams for?
When you are sure you understand the directions pin your
pattern to your material. Fig. 19 which you have already
studied will show you one way to place your pattern on your
material. The diagram which comes with the printed directions
on the pattern will also show you how to place the pattern on
the material. Be sure you have your teacher's approval before
you cut out your garment.
Criticism Helps You to Improve Your Work. — Skillful
workmen are constantly trying to improve upon their own work.
They are able to do this because they know how to criticize
their own work and are willing to have it criticized by other
people. At various places in this book you will find questions
which will help you to criticize your work. For example, while
you are working on the French seams turn to the questions
called inspection of French seams on page 44.
SIDE SEAMS 43
1. Remember to have your work criticized before it is com-
pletely finished. This will help to avoid mistakes.
It is easier to rip basting tk&rrstitvhin^ ^ -,
2. Ask your neighbor of your partner to criticize your work
frequently.
3. Learn to criticize your own work.
4. Remember that criticism means picking out good points
as well as bad points.
Something to Think About. — A criticism of your conduct in
the classroom may be as helpful as a criticism of the sewing
that you do. This will help you to find out whether you are a
worth-while member of the class, which is surely as important
as doing good sewing. Answer the following questions in regard
to yourself and decide in what ways you can improve your own
conduct. Try to be an ideal member of y<J^class.
1. Do you respect the rights of other*?? Do you use the
sewing machine for a longer time than is your share?
Do you make unnecessary noi$£>"^xx
2. Do you respect the property of other^r Do you borrow^
things without asking permission? Do you remember
to bring your own materials or do you always borrow
from others? \ ^X
jy
Do you make unnecessary work for other people?
you do everything that you can to keep the room i
order? Are you late, making it necessary for som
one to explain the work a second time?
4. How many of the above ideas are as important in your
home as in the sewing class? In a store?
Side Seams. — The side seams are to be finished with
French seams because French seams leave no raw edges and if
raw edges were left in these garments they would ravel out and
not look neat. On the right side of the garment the French
seam looks just the same as the plain seam but on the wrong
side the appearance is different. The raw edges do not show.
Examine your clothing to see if any of it is made with French
44 THE KIMONO PATTERN
seams. Before reading the directions for making the French
seam study Fig. 2 1 and try to figure out for yourself how the
seam is put together. The orange color shows the right side of
the material. The directions for a French seam are as follows :
1. Pin the two sides of the garment together, thus making
the first seam come on the right side.
2. Baste and try on before stitching to see if the garment
fits.
3. Stitch and trim off the raw edges about one-eighth inch
from the stitching, so they are even.
4. Turn the seams so the fold comes exactly on the line of
stitching. If the cloth does not crease well baste close
to the fold.
5. Baste about one-quarter inch from the fold. Stitch the
seam as near the basting as possible.
Warning: If great care is not taken in trimming the edges,
in making the fold, and in stitching, the raw edges will stick
out on the right side and make a bad looking seam.
Inspection of French Seams. — Criticize your partner's work
for the following points.
1. Is the stitching straight?
2. Is it turned exactly on first line of stitching?
3. Do you think the raw edges will show through on the
right side when finished? When is the best time to
think about this?
4. Is the stitching so far from the edge that it makes the
work look bulky?
Neck Finish. — Before finishing the neck it is necessary to
know whether the neck needs trimming out or not. Examine
the neck lines on the garments which the girls in the class are
wearing. Decide how low it will be best to cut the neck of your
garment. Notice that a well cut neck line is always lower in the
front than in the back or sides. Caution: Beware of cutting
too much out of the neck. It is easy to trim it off a little at a
time and impossible to add it on when too much is cut off. The
SIDE SEAMS 45
FIG. 21.
46
THE KIMONO PATTERN
garment should be tried on, taking great care not to stretch it
around the neck. If the neck of the garment is too high, pins
should be put in the proper place for cutting the neck line.
Then the garment should be taken off and the neck very care-
fully trimmed. In order to get the two sides exactly alike, the
two halves should be pinned together and trimmed at the same
time. The proper length for the sleeves should be determined
at the same time the neck is fitted.
Making the Bias Strip. — The neck of the kimono, night-
gown or apron dress may be finished with a bias facing. This
FIG. 22.
facing may vary in width from about three-eighths to one inch.
If the facing is a narrow one it is better turned to the wrong
side. The bias facing rather than a straight one is necessary
PUTTING ON THE BIAS STRIP
47
because the bias will stretch around the curve of the neck.
The bias strips can be either made from the material or bought
already prepared. You can find out how to make bias strips
by reading the following questions and studying the pictures in
Fig. 22.
1. How is the material folded in order to get a bias?
2. Of what use is the diagonal crease, made by folding the
material?
3. How should bias strips be placed when they are joined?
See Picture 3 in Fig. 22.
4. Why is the seam slanted instead of straight as shown
in Picture 4 of Fig. 22?
Putting on the Bias Strip. — It is a great saving of time to
buy the bias strips already prepared. Whether the strips are
FIG. 23.
made or bought already prepared they should be put on accord-
ing to the following directions:
1. Baste the edge of the strip to the edge of the neck, keep-
ing the two right sides together as shown in the first
part of Fig. 23. The orange color shows the right
side of the material.
2. Stitch and remove the bastings.
4
48 THE KIMONO PATTERN
3. Turn directly on the seam, crease and baste close to the
edge. Was there any step in making the French
seam exactly like this?
4. Turn in the raw edge and baste as shown in the second
part of Fig. 23.
5. Stitch and remove the bastings.
Sometimes the facing is made wide and of some contrasting
colored material. In this case it is turned to the right side,
so as to make a trimming. The process of putting it on is just
FIG. 24.
the same, except that the two right sides are not put together
in beginning the process. Instead, the right side of the facing
is put to the wrong side of the garment and then turned to the
right side. The facing should join in the middle of the back.
Can you tell how to join it by examining Fig. 24? The first part
NECK FINISH FOR KIMONO 49
of the diagram shows the facing before it has been turned. The
second part of Fig. 24 shows how it looks when it is finished.
Neck Finish for Kimono. — Another way to finish the neck
of the kimono is with a binding instead of with a facing. It
may be made from the same or contrasting material. The
binding stands up around the neck instead of lying down flat
as the bias facing does.
A Problem for You to Do. — Find out how a binding is dif-
ferent from a facing. The questions below will help you to
find out.
1. The facing always turns back flat on one side of the
cloth. How does a binding differ from this? See
Fig. 25.
2. Is a binding or a facing more like a hem?
3. The first step in putting the edge of the binding to the
cloth is just the same as putting the edge of the facing
to the cloth. How is turning and creasing the binding
different from turning and creasing the facing? See
Fig. 25.
Inspection of Neck Finish. — Criticize your own work for
the following things:
1. Is the bias facing or band cut an even width or is it
narrow in certain places?
2 . Is it basted with small enough stitches so it will not slip
when the stitching is being done?
50
THE KIMONO PATTERN
Finish for the Sleeves.-
FIG. 26.
3. Is the turn made neatly and held firmly in place wi
basting ready for stitching?
4. Is the last turn made so the raw edge cannot show?
5. Does the last stitching follow the edge closely or do
it run off the edge?
-The finish at the bottom of tli
sleeves generally matches
the finish at the neck. For
example, if the facing is
turned to the right side at
the neck it should be turned
to the right side on the
sleeves. Directions for put-
ting on the facing at the bot-
tom of the sleeves need not
be given because it is put on
exactly like the facing at
the neck.
Hem at the^ Bottom. —
Next, the proper length for
the garment should be
determined. Fig. 26 shows
how it should be done. De-
cide how many inches from
the floor you wish to have
the bottom of your garment
after it has been hemmed.
Have your partner put in
the pins as shown in the
picture. This line of pins will
tell you where to turn the
fold of your hem. It is
better to use a ruler or yardstick for measuring because it will
not bend as would a tape measure. Turn slowly while your
partner puts in pins at intervals of every three or four inches
HEM AT THE BOTTOM 51
as shown in Fig. 26. If it is possible stand on a table or some
kind of raised platform. Why will this be helpful? When the
garment is taken off it should be spread out on a table and
pinned more accurately. Sometimes there are slight irregu-
larities in the way it is pinned and these should be straightened.
Next, measure the two sides to see if they are equal in length.
This is a means of checking the accuracy of the length from the
floor. However, if one shoulder is higher, this means of check-
ing can not be used. After all this is done, finish the hem
according to the following directions. This hem is made a little
differently than the hems on curtains and towels because it is
on a curved edge.
1. Cut a paper gauge the desired width for the hem. If
FIG. 27.
you do not remember how to make a gauge refer
to Fig. 13.
2. Turn the hem on the line of pins.
3. Mark the width of the hem with pins, using the gauge to
get it even. Then trim the hem if necessary.
4. Be sure that when the seam is folded back it is pinned
directly to the seam underneath. This is pointed
out by the arrows in Fig. 27.
52 THE KIMONO PATTERN
5. Sometimes on a curved hem the top edge is too full.
In this case it is necessary to take little plaits as
shown in Fig. 27.
6. Finish the hem just as you would finish the hem on a
straight edge. Why is it necessary to baste this hem?
Inspection of Hems. — 1. Are they turned evenly?
2. If carelessly or loosely basted will the basting hold the
hem firmly?
3. Does the stitching run off the edge?
4. Is the stitching so far from the edge that it- will not hold
the first turn in place?
General Inspection for Speeding Up
1. Each girl should report on the amount accomplished up
to date.
2. Can you find out why certain girls have been able to
accomplish more than others?
3. Can you suggest how certain girls can " speed up " their
work?
4. Do you find that some work has been done carelessly
because the girls worked too fast?
5. What was your own rate of work? Was it too fast or
could it have been faster?
Lace Edging for the Neck and Sleeves. — Lace edging
is sometimes added to the neck and sleeves of the nightgown.
There are many kinds of lace and to study them all would
take a long time. Four kinds that are suitable for use on your
garments are: Crejrcian Valenciennes, French Valenciennes,
Cluny and Tnrchnn 1a.ce. French Valenciennes, sometimes
called Val, is a light-weight, delicate kind of lace as shown
in Fig. 28. It is not a particularly durable lace and looks best
when combined with thin materials. German Val as shown in
the second picture is a heavier and more durable lace. Cluny
HOW TO PUT ON LACE
53
is a much coarser and stronger lace, generally having wheels
as shown in the third picture. It combines well with underwear
materials such as longcloth, cambric and crepe. Torchon is
also a heavy, strong lace. The last picture shows a character-
istic Torchon lace pattern.
If you decide to use lace on the neck and sleeves of your
FIG. 28.
**
^^**&^
*"***&&**^^
nightgown be sure to select a lace that combines well with the
material in your garment. Delicate laces do not look well on
heavy, coarse materials. For example, a delicate piece of Val-
enciennes lace does not combine well with heavy muslin or
longcloth. Which of these laces will launder best?
How to Put on Lace. — The lace may be sewed on by hand
54
THE KIMONO PATTERN
or stitched on with the machine. Discuss with the other girls
in the class the advantages of each method of putting on lace.
Examine some garment which has lace stitched on by machine
and see if you can answer the following questions :
1. Is the lace stitched to the right or the wrong side of the
garment?
2. How far is the lace lapped onto the garment?
3. Will it be necessary to baste? Why?
Overhanding. — When lace is put on by hand the overhand-
ing stitch is generally used. The picture in Fig. 29 shows how
FIG. 29.
lace is put oil with this stitch and you should be able to see for
yourself how it is done.
1. How is the lace held in relation to the cloth? Is it not
like the two edges of a seam?
2. In what direction do the stitches progress?
OVERHANDING 55
3. It is easiest to hold the work between the thumb and
fingers of the left hand, with the edges lying along the
first finger.
4. Beware of taking deep stitches or uneven stitches if you
wish to have good work.
5. In what direction does the needle point in taking the
stitch?
6. To start the stitch leave a short end of thread that is
not drawn through. Hold it with the thumb between
the two edges. Then take the stitches over this
thread.
7. To fasten the stitch turn the work around and over-
hand back four or five stitches.
The overhanding stitch is often used to hold two finished
edges together. Can you find other places where the overhand-
ing stitch has been used? What would happen if you should
try to overhand two raw edges of cloth together; for example,
the underarm seams on your garment?
FINAL CHECK-UP ON THE KIMONO TYPE OF GARMENT
There are certain things that you should have learned while
working on this garment. You should know certain things
about patterns, certain things about buying cotton material
and certain things about sewing. If you can do the following
puzzles and answer these questions, it proves that you have
learned these important things.
Pattern Picture Puzzle
PART I
1. Which pattern in Fig. 30 is laid on the cloth correctly? s
Only one is correctly placed.
2. What is wrong in each of the other pictures?
56
THE KIMONO PATTERN
FIG. 30.
OVERHANDING 57
Pattern Picture Puzzle
PART II
Each edge of the pattern in Fig. 31 has a number. In
FIG. 31.
answering the following questions give the number of the edge
which you think is correct.
1. Which edge should be laid on a lengthwise fold? 5 *» *
2. Which edges would be joined in a French seam? S~ f
3. Which edges are at the bottom of the finished garment? ¥• ~ 7
4. Which edge forms the bottom of the sleeve? $
5. Which edge shows the center back of the garment?
CAN YOU ANSWER THESE QUESTIONS?
1. In selecting a piece of material why would you pull it
between your fingers and hold it up to the light before
making your purchase?
2. What three things do you have to know in order to buy
the right amount of material for a kimono?
3. How can you always recognize chambray?
4. Why is it not possible to have a design with circles and
curves in gingham?
© Why would it have not been wise to use plain seams for
the underarm seams of your kimono garment?
6. How would you fold cloth in order to get a true bias?
7. Why is it sometimes necessary to use a bias facing
instead of one cut straight with the cloth?
58 THE KIMONO PATTERN
8. Explain the difference between the hem on the bottom of
a kimono garment and the hem on a straight edge.
9. Under what conditions would you use the overhanding
stitch?
10. How does a binding differ in appearance from a facing?
FOR THE GIRLS WHO WORK FAST
When you have time to do extra work at school or at home
there are other garments which you will like to make. These
garments are similar to the ones you have just made. You
might like to make a dress for your little sister or an under-
slip for yourself. If there is much sewing to be done in your
family it will be an opportunity to help. By studying these
pictures you can see how each of these garments is made.
Every girl should be able to answer the following questions on
the child's dress and the underslip, whether she has time to
make another garment or not. This is a check-up on your
understanding of patterns.
A Modified Kimono Pattern. — 1. How is the kimono
pattern in Fig. 32 different from the one you used?
PIG. 32.
ANOTHER TYPE OF PATTERN
59
2. How can you tell by the neck line which is the back and
which is the front?
3. The best finish for the slit opening at the neck is a bind-
ing. Would you consider it better to use a straight or
bias binding?
4. What advantage is there in having the seam on the
shoulder?
Another Type of Pattern. — Since you have had some
FIG. 33.
experience in using the kimono type of pattern, you should be
able to understand this new kind of pattern.
1 . An underslip of course has no sleeves. What is the dif-
ference in the curve for the neck and for the arm-
hole as shown in Fig. 33?
2. Can you tell which is the front and which is back by the
curve at the neck?
3. How. would you estimate the amount of material needed
for a slip?
60 THE KIMONO PATTERN
4. Which edges of the pattern would, you plaqe on a length-
wise fold? N
5. What kind of seams would you use?
6. How will you finish the armholes?
7. Which edges will be sewed together in the long under-
arm seams?
8. Which curves form the neck?
CHAPTER IV
HOW OUR CLOTHING KEEPS US HEALTHY
FIG. 34-
^x.
ABOVE are two pictures, one showing how your great-grand-
mother dressed, with her big, full skirts sweeping the floor as
she walked. Her waist was pulled in very tightly because it was
considered a sign of beauty to have a tiny waist. She wore her
hair in many puffs and curls, and sometimes her coiffure was
completed with a huge pompadour. The other picture shows
how an up-to-date girl may dress for out-door sports. She wears
knickers or bloomers, broad toed shoes with flat heels and has
her hair bobbed. What do you think each of these girls might
do to have a good time? Make a list on the blackboard of the
things which the up-to-date girl might do, which the old-fash-
ioned girl could not do so well because of her clothing.
61
62 HOW OUR CLOTHING KEEPS US HEALTHY
The up-to-date American girl is healthy and active. She
does many things that her great-grandmother never would have
thought of doing. Your clothing can be a great aid in helping
you to be a healthy, active, modern girl. The dresses you wear,
the shoes and stockings you choose, the way you wear your
hair, your underwear and your out-door wraps are all important
in keeping you well and happy.
Shoes. — It hardly seems possible that people will deliber-
ately hurt themselves by wearing tight shoes but such is the
FIG. 35.
fact. We are horrified when we hear how Chinese women had
their feet bound to keep them small when they were children.
Yet some American girls and women wear shoes which dis-
tort their feet and cause them actual pain, not to the extent
formerly practiced by the Chinese, but why should it be done
at all? Happily, women are beginning to prefer more comfort-
able shoes. In Picture 1 of Fig. 35, you will see a Chinese foot
which was bound so that it was only half the length of a normal
foot. In Picture 2 you will see the foot of an American woman
which is thrown out of shape by wearing an improper shoe and in
Picture 3 the foot of an up-to-date girl who wears a correct shoe.
Size of Your Shoe. — Shoes should be large enough to be
comfortable when standing. The girl who buys shoes a size
smaller than she should wear is very foolish indeed. As far as
appearance is concerned, one or two sizes matter very little but
it makes a great deal of difference in comfort and health. Shoe
SIZE OF YOUR SHOE
63
sizes are classified according to length and width. When the
shoe salesman measures your foot, he often does it while you
are sitting. As soon as you stand on your foot, it becomes longer
and this must be allowed for in the fitting of the shoe. If the
shoe is too short it may cause serious discomfort and injury to
the foot. Many people have corns on their toes because they
wore shoes that were too short, causing the toes to be crowded
together and pushed backward. But even a far more serious
FIG. 36.
thing may happen to your foot than having a corn form on one
of the toes if you wear shoes that are too short. The joint of
the big toe may be so injured that a bunion will develop. A
bunion is so serious and painful that operations are sometimes
necessary. Fig. 36 shows two shoes for the same foot. One
shoe fits improperly because it is too short and the joint of the
big toe is too far forward, leaving a space between the sole of
the shoe and the foot. This means that the toes are crowded
too far forward. Feel of your foot in the shoe which you are
wearing and find out if your shoe is long enough. When you
buy new shoes you should always feel to see that the joint of
the big toe fits into the shoe as shown in Picture 2 of Fig. 36.
Even though no serious injury to the foot should result
from wearing shoes that are too short, the foot soon causes the
shoe to lose its shape. This makes a very bulgy, untidy look-
ing shoe. Did you ever have a pair of shoes which did this?
5
64 HOW OUR CLOTHING KEEPS US HEALTHY
FIG. 37-
The Shape of Your Shoe. — The toe of your shoe should
not be pointed because your toes do not naturally crowd them-
selves together into a point. Notice in Fig. 37 how the toes
spread slightly when the foot is in a natural position. You will
also notice that the inside line of the foot is practically straight
with the big toe extending straight forward. If this foot is put
into a pointed shoe which crowds the big toe inward, the result
is sure to be painful and harmful. Sometimes people do not know
what is wrong when their shoes
hurt their feet because they do
not realize that the shape of the
shoe they are wearing is very dif-
ferent from the shape of their
feet. When the shoe is too short
as well as too pointed the result
is very painful indeed.
After such shoes have been
worn for a long time, the foot
actually becomes reshaped and
the toe remains pushed in even
when the foot is not in the shoe.
In many cases when feet have been deformed in this way it
was caused by wearing shoes that did not fit correctly during
the period of growth. Have you learned in your physiology or
hygiene class why feet are more easily deformed during the
period of growth? This will remind you of how Chinese
women formerly had their feet distorted. Some people
claim that the narrow, pointed shoe is more beautiful than
a shoe with a rounded toe, because the lines are more grace-
ful and artistic. But does it seem truly beautiful, when you
remember how cruelly the toes are crowded together inside?
Something for You to Do. — Take pedigraphs of both your
feet. You can do this by wetting each foot and then stepping on
a piece of colored blotting paper. Your wet foot will print on
THE HEELS ON YOUR SHOES 65
the colored blotting paper making an impression which is called
a pedigraph. Mark around the prints of your feet before the
water dries and you will then have a pedigraph showing the
exact size and shape of both feet. Each girl should do this at
home if it is not convenient to do it at school.
Next place your shoe on a piece of paper and trace around
it with a pencil. Cut out the shape of the shoe and layMt over
your pedigraph to see if the shoe is the right size and shape
for your foot.
The Heels on Your Shoes. — Nature did not intend that
you should walk on high heels or she would have provided you
with a foot that had the heel already attached. High heels
throw the whole body out of its natural position, often causing
headache and backache. It is impossible to walk properly on
high heels. Watch people as they walk down the street and try
to- tell whether they are wearing high heels before you look at
their heels. Imagine an athlete trying to win a race or play
football in high heeled shoes. Doctors find that people who
have worn high heels for a number of years have muscles and
cords in the back of the legs which have become shortened.
For these people it is painful to try wearing low heeled shoes
and the change to low heels should be made gradually so that
the muscles may be permitted to lengthen out gradually. These
people often claim that it is necessary for them to wear high
heels because they have such high insteps. As a matter of fact
it is not because they have such high insteps, but because the
muscles and cords have become shortened by the continued
wearing of high heels. Some women are prevented from play-
ing golf and tennis because they can not wear low heeled shoes
and high heeled shoes are not permitted on the tennis courts
and golf links.
Another point in favor of low heels is that they are broad,
whereas many of the high heels are so small at the bottom that
they do not give a firm support, permitting the foot to wobble.
66 HOW OUR, CLOTHING KEEPS US HEALTHY
Notice the size of the heel of the shoe as compared with the heel
of the foot in Picture 2 of Fig. 37. If you are going to be a
heal thy , up-to-date girl you will continue to wear low heels.
Little boys and girls are never given high heeled shoes to wear
because it would be considered entirely inappropriate. As boys
grow older it never occurs to them that they should wear high-
heeled shoes because it would be an unnatural and uncomfort-
FIG. 38.
able way for them to dress their feet. As girls grow up, many of
them feel it is necessary to begin wearing high heeled shoes.
Does it not seem strange that they think this is necessary?
What could have happened to their feet that does not happen
to boys7 feet? It is not likely that they could have suddenly
developed a kind of foot that requires high heeled shoes.
Notice in Fig. 38 how the bones of the foot are thrown out
of their natural position in the high heeled shoe. Can you feel
these bones in your foot?
Harmful Effects of Wrong Shoes. — The injurious effects
of wearing the wrong kind of shoes is greater than we realize.
High heels cause one to stand incorrectly with the body tilted
forward and this in turn causes the many ailments mentioned
before. Some physicians say that very serious illnesses can be
traced to the wearing of high heels.
One most common ailment resulting from the wearing of
HARMFUL EFFECTS OF WRONG SHOES
67
the wrong shoes is the " fallen arch." Fig. 39 shows what
happens in the case of the fallen arch. The ligaments have
become weakened and let the bony arch of the foot flatten out.
This is an exceedingly painful thing to have happen and every
FIG. 39-
girl should do her utmost to prevent it. Sometimes it is so
serious that walking is impossible for a time. Refer to your
pedigraph and find out if your feet are normal. Fig. 40 shows
FIG. 40.
the pedigraph of abnormal foot, the pedigraph of a foot with a
partially fallen arch and a flat foot.
What-To-Wear Club. — Some classes find it interesting
while they are studying about clothing to form a club which
they call a " What-To-Wear Club." If you do not have time
to meet outside school hours, perhaps you can hold your club
meetings during regular class periods. After they have elected
68 HOW OUR CLOTHING KEEPS US HEALTHY
officers it is the business of the club to make rules about the
kind of clothing that they will all agree to wear. If members
of your class desire to form such a club you can begin by making
rules about the kind of shoes to wear. Then as we study stock-
ings arid other clothing we can add more rules from time to
time. The principal of your school or the dean of girls, if you
have one, will gladly help you with your club. You might call
the club the W. T. W. Club and make a monogram of the
letters. It will be fun to have a club contest about slogans for
shoes. For example, some slogans that have been used are " Low
heels and good health " and " A shoe that is right is never too
tight." Your slogans might make good ideas for posters for
health week.
How Stockings May Be Harmful. — Some of the things
that are true of how shoes may injure the feet when not properly
fitted, are also true of stockings. If the stocking is too short
it causes the toes to push backward and may produce ingrown
toe nails, corns, bunions, or trouble with the arch of the foot.
If the stocking is too long it wrinkles and rubs the skin of the
foot, often causing blisters. Have you ever had a blister on
your foot caused by a wrinkle in your stocking?
Sometimes we hold up our stockings by wearing garters
around the leg or by rolling the top of the stocking. This is
injurious if it is so tight as to interfere with the circulation of
the blood in the leg. When the garter makes a red mark on the
leg, even though it does not feel uncomfortable, we should be
warned that the garter is too tight. What happens when you
wrap a string or rubber band tightly around your finger and
leave it there?
Something More for the W. T. W. Club. — What rules should
the club make about stockings? An interesting topic for dis-
cussion for one of your club meetings may be: " What have I
learned about shoes and stockings that will be helpful to other
people? " How many girls have been able to help their brothers
and sisters buy shoes and stockings that fit properly?
CLOTHING PERMITS FREEDOM OF MOVEMENT 69
FIG. 41.
Clothing That Permits Freedom of Movement. — The
modern girl wears about half as many undergarments as her
great-grandmother did. Many of the garments are combina-
tion one-piece garments, such as the knitted union suit, the
combination suit and the underslip. The fact that most under-
garments worn by the modern girl have no waist bands gives
her more comfort and freedom
of movement.
Another reason the modern
girl has more comfort is that
she wears no corset or if any, a
small, light girdle corset which
in no way restricts the waist
line. The girl of to-day has
less need for a corset than the
old-fashioned girl because she
keeps in good condition by
exercise. The few girls who
need corsets have weak mus-
cles or are not in good condi-
tion physically. No girl should
ever wear a corset that inter-
feres with the organs of the
body. The old-fashioned girl
tried to have as small a waist line as possible. It seems hard
to believe that any girl would deliberately injure herself by
wearing a tight corset. Yet girls and women of our great-
grandmothers' time wore their corsets so tight that it was
necessary for them to have assistance in pulling up their corset
strings. (In order to achieve a waist that measured 16 to 18
inches around they tied their corset strings to a bed post and
pulled with all their might")) Fine ladies were put into their
corsets by maids who pulled the strings so tightly that freedom
of movement was impossible. This pulling in of the waist
70 HOW OUR CLOTHING KEEPS US HEALTHY
distorted the natural shape of the body and prevented the
organs of the body from functioning properly. At the present
time our ideas as to what makes a beautiful figure have so
changed that we now admire the healthy, natural figure. If a
corset is worn it must conform to the natural figure and in no
way distort it. Notice the body of the girl in Fig. 41. Do you
think this girl has ever worn a tight corset?
A Program for a W. T. W. Club Meeting. — 1. Have reports
on the effect of wearing tight clothing. The girls who
have studied physiology and hygiene should be able
to make these reports. The list of references at the
end of this chapter will help the girls who make these
reports.
2. Arrange an exhibit of pictures from magazines or news-
papers of girls with beautiful, natural figures and of
historical pictures of ladies with unnaturally small
waists.
3. Make rules about the wearing of tight clothing.
How Our Clothing Helps to Keep Us Warm. —
body knows that it is necessary to keep warm in order to avoid
sickness. When a person gets very cold sickness is almost sure
to follow. Colds, influenza, pneumonia and tonsilitis frequently
result from exposure to cold. The normal temperature of the
body is about 98 degrees. This remains the same all the time
and does not change even a few degrees unless the person is ill.
How is it possible for the body to keep the same temperature
when we go from a well-heated house to the out-doors where it
may be freezing cold? We may even remain out-doors for a
long time but the temperature of the body will remain about
98 degrees. The body itself produces heat and when it is
exposed to cold reacts in such a way as to furnish extra heat.
However, it would not be possible for the body always to furn-
ish sufficient heat to keep us well if it were not for our clothing
which protects us from the cold and helps to save the body heat.
THE FIBER THAT KEEPS YOU WARM 71
The following paragraphs will tell you what kind of clothing
to wear in order to keep warm.
The Weave That Keeps You Warm. — The clothing which
will keep one warm is the clothing which best holds the body
heat, and prevents it from getting away. The warmest cloth-
ing is that which is a poor conductor of heat. This means that
heat can not pass through it easily. The garment worn next
to the skin is most important in saving the body heat. One
would suppose that the more tightly woven a material is, the
warmer it would be. However, this is not entirely true. A
loosely woven or knitted material has many tiny open spaces
which hold the air. Air itself is a poor conductor of heat and
the heat from the body can not pass through these air-filled
spaces readily. When we understand that it is really the con-
fined air that saves the heat of the body we are ready to believe
that the loosely woven or knitted garment is warmer than a
tightly woven garment. Are you wearing any garment made
from a material that is knitted or loosely woven so that you
can see the little air spaces?
Of course, an open-mesh weave in an outer garment is not
warm because the wind penetrates it so easily. For example,
sweaters and little children's knitted suits are not really warm
unless a cloth coat is worn over them, in which case they are
very warm indeed. Two light-weight garments are warmer
than one very heavy garment because the layer of air between
the two garments helps to conserve the body heat. Sleeping
under two light-weight blankets keeps one warmer than sleep-
ing under one heavy blanket.
To Discuss with Your Class. — 1. What would be the best
way to dress in order to keep warm in a cold room
where there was no wind?
2. How would you dress to go skating on a cold, windy day?
The Fiber That Keeps You Warm. — The kind of fiber
from which a garment is made also has much to do with the
saving of heat. This is especially true in undergarments which
72 HOW OUR CLOTHING KEEPS US HEALTHY
lie next to the skin. A fiber which is a poor conductor of heat
makes a warm garment because the heat can not escape.
The wool fiber is the poorest conductor of heat of all the
fibers used for clothing. It makes a very warm garment. The
sheep from which we get the wool fiber wears a woolen fleece
for the same reason that we wear woolen clothing, in order to
keep warm. The sheep lives out-doors all the time and requires
a warmer coat of wool than we do, who live in heated houses
and buildings. Sometimes woolen underclothing is too warm
for those of us who live in well heated and sometimes over-
heated houses. It is as bad to overheat the body by too much
clothing as to wear an insufficient amount. For this reason
most people find it better to wear cotton underclothing and
depend on woolen dresses and outer wraps to keep warm
when out-doors.
Since wool is sometimes too warm for everyday wear, under-
wear is also made from other fibers. The silk fiber is a better
conductor of heat than wool. This means that heat escapes
through silk more readily than through wool and will not keep
the body as warm. However, silk is expensive and consequently
is not worn by the majority of people.
Cotton is a still better conductor of heat than silk, permit-
ting the heat from the body to escape readily. For those of us
who live in well heated houses or warm climates, cotton makes
comfortable underwear. Since it is a cheaper material than
silk and satisfactory as far as warmth is concerned we find that
most people wear cotton underclothing.
The material that is the best conductor of heat is linen.
Heat escapes more readily through linen than through any of
the other fibers used for clothing. Linen is not worn as under-
clothing by the modern girl but her great-grandmother had
many linen undergarments.
For Class Discussion. — Ask yourself the following ques-
tions and then compare your answer with the answers of the
other girls in the class:
TOO WARM CLOTHING IS UNHEALTHY 73
1. Considering the amount of time you spend out-doors in
winter and the way your home and school are heated,
do you think you should wear woolen underwear?
2. Why do many people find it best to wear cotton under-
wear all year around?
3 . How many woolen things do you wear when you are out-
doors in winter?
Another Way That Clothing Prevents Too Rapid Loss
of Heat. — One way in which the body loses heat is by means
of evaporation of moisture. You may be surprised to learn that
the body gives off about three pints of water in perspiration
every day. Usually this water evaporates from the pores of the
skin and we are quite unconscious of it. If anything happens
which causes very rapid evaporation of this moisture we feel
cold because the body loses heat so rapidly. For example, if
we exercise strenuously and then sit down to rest in a breezy
place we will soon become thoroughly chilled. The moving air
causes the perspiration to evaporate quickly and this lowers
the temperature of the body. This rapid chilling of the body
can be prevented by putting on an extra garment as soon as one
sits down to rest. Have you ever noticed that the football
player or the basket ball player puts on a blanket or sweater
as soon as he comes off the field after playing? If the body
temperature is lowered it makes it easy for us to " take cold."
Too Warm Clothing Is Unhealthy. — Some people dress
so warmly that it causes more perspiration than is normal. For
example, children often wear heavy, woolen underwear that is
unnecessary in well heated houses. This causes increased
perspiration. Underclothes may absorb this perspiration and
become damp. Do you see why this may cause them to " take
cold " easily? Have you ever been told to take off your coat
or sweater while you were in a heated room because you would
be cold when you went out again? Are you able to explain why
this is true? Have you ever noticed that when you leave your
rubbers on while you are in the house that your feet become
74 HOW OUR CLOTHING KEEPS US HEALTHY
very warm? This, of course, is because the air is prevented
from getting to the feet by the rubbers and evaporation of the
perspiration does not take place. Then when you go out-doors
again your feet being wet will become very cold.
Clothing That Helps Moisture to Evaporate Prop-
erly.— Porous, open mesh underwear permits the air to circu-
late over the skin and allows evaporation. A close-woven fabric
worn next to the skin does not permit as much evaporation.
For this reason the knitted union suit is much more healthful
than the close-woven muslin suit. How will rubber garments
affect the evaporation of perspiration from the skin?
For those people who exercise and may perspire very freely,
it is important that the undergarment should dry quickly if it
becomes wet with perspiration. Some fibers dry more quickly
than others.
An Experiment to Do. — Find out whether a wool stock-
ing or a cotton stocking dries more rapidly. Wash the two
stockings and hang them up next to each other. Record the
amount of time that it takes -each to dry. If an undergarment
remained wet with perspiration for a long time it might cause
a feeling of chill. Do you think wool or cotton underclothing
is more desirable in respect to this point?
The Danger of Wet Clothing. — Wre have already learned
that the body loses heat by evaporation of moisture from the
skin and if this evaporation is too rapid that the body tempera-
ture is dangerously lowered. Clothing that is wet conducts heat
away from the body much more rapidly than dry clothing. This
is true because water itself is a good conductor of heat. For
these reasons damp clothing is always dangerous and especially
so on cold, windy days. Do you now understand why it is so
important to change your shoes and stockings when you get
your feet wet? Or why you should wear your rubbers? Is it
just as important to change your clothing if it becomes wet
when you are caught in a rainstorm as if it becomes wet with
perspiration? What would you do if your clothing became
KEEPING COOL IN SUMMER 75
wet and you could not immediately secure dry clothing? Keep
walking, running or exercising vigorously in order to make
the body produce more heat.
Something to Do. — 1. Make a cartoon story about two girls.
One of these girls was careless about wearing her
rubbers and raincoat and carrying her umbrella. The
other girl always remembered to wear them. Perhaps
you can think of good names for the girls as, for
example, " Miss Sickly Wet Foot " and " Miss
Healthy Rubbers."
2. Make jingles or rhymes about what to do when your
clothing gets wet.
Keeping Cool in Summer. — The problem of dressing
properly in summer is, generally, how to keep cool. The cloth-
ing should be such that it will help the heat to escape from the
body. The fibers that are the best conductors of heat will keep
you coolest. You have already learned that cotton and linen
are the best conductors of heat. This explains why we gen-
erally wear cotton and linen clothing in summer.
Weaves that are open and allow the air to circulate freely
are cooler than close, firm weaves. When the air can not escape
it becomes saturated with moisture from perspiration. This
moist or humid air makes evaporation very slow and conse-
quently we are too warm because the body heat can not escape.
If the temperature of the air should be greater than that of
the body as sometimes happens in tropical countries, it is desir-
able to keep the hot air from getting to the body. In this case
would you wear clothing that is a good or poor conductor of
heat? Does this explain why men sometimes wear flannel shirts
and felt hats when they are working in the sun?
Why is it that we generally wear light-colored clothing in
summer and dark-colored clothing in winter? Is a white dress
on a hot summer day merely cooler to look at or really cooler
to wear? Scientists tell us that dark colors absorb more heat
from the sun than light colors. This explains why you are
76 HOW OUR CLOTHING KEEPS US HEALTHY
warmer when you wear a dark blue dress than when you wear a
light blue dress. In winter, try Benjamin Franklin's experi-
ment of putting a piece of black cloth and one of white on
the snow in the sunlight.
Things for the W. T. W. Club to Do.— I. Discuss the right
kind of garments to wear in winter and in summer.
Make rules about things to remember when selecting
your clothing for winter and for summer.
2. Discuss what to do when you get your feet wet on the
way to school or if you are caught in a rain. Make
rules to follow.
3. Make rules about wearing coats and rubbers in the house.
4. Make a rule about what to do after strenuous exercise.
Keeping the Underclothing Clean. — It seems unneces-
sary to say that everyone should keep the clothing clean. Yet
unless we know certain facts it may seem that our clothing is
clean when it really is not. The body not only gives out three
pints of water daily in perspiration but it also gives off oily
secretions through the pores of the skin. Even when a bath
is taken daily there is still a certain amount of perspiration
and oily secretion taken up by the undergarments. This makes
it necessary to have clean garments at least twice a week and
it is desirable to change them more often if possible. The gar-
ments worn during the day should not be worn at night but
should be given a chance to air. Hang them on a chair near an
open window so they can air while you are asleep. The night
garments should be aired during the day and not rolled up and
put under a pillow. Have a hook in the closet on which you
make a habit of hanging your night garments.
Since underclothing must be washed so frequently, it is
important to select a kind that can be easily laundered. Wool
is the least cleanly of fibers because it absorbs and holds the
oily secretions from the skin more readily than any other fiber.
It is not easy to thoroughly cleanse wool. It can not be boiled
YOUR DUTY TO WEAR HEALTHFUL CLOTHING 77
as cotton can and if not properly washed it will become harsh
and lose its softness. Silk is the cleanest of the fibers because
of its smoothness, which prevents it from catching and holding
dirt. It is easily cleansed but is much more expensive than
cotton. Linen and cotton are probably the most satisfactory
fibers. They can be easily cleansed and boiled so as to make
them thoroughly sanitary.
Something for You to Think About. — You have learned
certain things about keeping the body warm, keeping the body
dry and about keeping underwear clean. With these things in
mind what would be the points in favor of buying cotton under-
wear? Silk underwear? Wool underwear? Linen underwear?
Why Is It Your Duty to Wear Healthful Clothing?—
Wearing the right kind of clothing is one way of keeping well
and everyone likes to be healthy. We like to be well because
it is unpleasant to be sick. Have you ever realized that when
you are sick it is not only unpleasant for you but it is unpleas-
ant for other people. Someone has to take care of you, which
makes extra work and trouble. It may make extra expense
for medicines and doctors. If you are absent from school your
teacher or someone else must help you to make up the work
you have missed. Do you think you have any right to cause so
much trouble if you can avoid it? If you are careless about
wearing rubbers, changing wet clothing and wearing the right
kind of clothing you are failing to do your duty to yourself
and to other people. It is not considerate of other people to
be careless about how you dress even though you think it will
not harm you. Does this help you to understand why your
mother reminds you to take an umbrella and rubbers?
CHECK-UP ON HEALTHFUL CLOTHING
Write the answers to the following questions. If you
answer all the questions correctly it proves that you under-
stand this unit of work.
78 HOW OUR CLOTHING KEEPS US HEALTHY
I. List six things that show how the up-to-date girl dresses
in a more comfortable and healthful way than the old-
fashioned girl.
II. Questions about shoes and stockings.
1. How can you tell when a shoe is the right length for
your foot?
2. Tell two things that may happen if you wear shoes
that are too short.
3. What may happen if you wear high heels for a long
period of time?
4. Draw pictures ( 1 ) showing a shoe with a well-shaped
sole for a normal foot, (2) showing a shoe with a
sole that would push the big toe out of place.
5. Tell two things that may happen when stockings do
not fit properly.
6. What happens if the stocking is too tightly rolled?
III. Choose the best phrase to complete each of the following
statements. In each case, one answer is correct
according to the things which you have learned in this
chapter.
A. A cotton knitted undergarment is warmer than a
cotton undergarment made of woven cloth of the
same weight because:
1. It feels softer.
2. The material has many air spaces.
3. It is elastic and fits the body better.
B. Wool is a warmer fiber than cotton because:
1. It is a poor conductor of heat.
2. The sheep gives us the wool.
3. It feels thick and warm.
C. Cotton is good material for underwear in summer
because:
1. It washes easily.
2. It is a good conductor of heat.
3. It is thinner than wool.
YOUR DUTY TO WEAR HEALTHFUL CLOTHING 79
D. It is not wise to wear woolen underwear in winter
when you do work which causes you to perspire
freely because:
1. It is too warm.
2. It scratches and irritates the skin.
3. It absorbs the moisture and dries very slowly.
E. Two light-weight garments are warmer than one
heavy garment because:
1. Of the layer of air between the garments.
2. Two garments are heavier than one garment.
3. Heat from the body cannot pass through two
materials as easily as through one material.
F. Underclothing should be changed frequently
because :
1. It absorbs perspiration and oily secretion.
2. It looks soiled and untidy.
3. It is harder to launder when it becomes very
dirty.
A SURVEY OF MY CLOTHING AND MY HEALTH HABITS
It is not enough to know what is healthful clothing but it is
necessary to put these ideas into practice. If you can honestly
say, " Yes " to each of the questions below you have good
clothing habits.
1. Do I wear low heeled shoes? Q
2. Are my shoes large enough? (Js^
3. Are my shoes the right shape to fit my feet?
4. Are my stockings long enough?
5. Do I fasten my stockings without rolling them too tightly
or using tight garters?
6. Do I wear clothing that permits me to move around freely?
7. Are my waistbands loose enough to be comfortable?
$h Am I careful to take my rubbers off when I am in the
house? •
9. Do I always remember to take off my coat or sweater when
I am indoors?
80 HOW OUR CLOTHING KEEPS US HEALTHY
10. Do I wear clothing that is not too warm so that I do not
get overheated?
11. Do I change my shoes and stockings when I get my feet wet?
12. Do I keep moving when my clothing is damp and I can
not change to dry clothing?
13. Do I take reasonable precautions not to get my clothing
wet?
14. Do I always remember to hang my underclothes where
they can air at night?
15. Do I always hang my nightgown up during the daytime?
16. Do I remember to put on a coat or sweater when I am
overheated from exercise and stop to rest?
17. Do I change my underclothing once or twice a week or
oftener?
18. Do I hang my coats and dresses out to air occasionally?
19. Do I select sensible clothing for summer?
20. Do I help my little brother or sister to acquire right
clothing habits?
21. Do I answer cheerfully when reminded of how to dress?
Helpful Books to Read. — In preparing a report on a
topic about health and clothing you will find it helpful to read
some of the following books and magazines.
1. Textiles and Clothing. Ellen B. McGowan and Charlotte A.
Waite. The Macmillan Co., pp. 244-252.
2. Health Habits. Book Two. William E. Burkhard. Raymond L.
Chambers and Frederick W. Moroney. Lyons and Carnahan,
pp. 27-37; 55-63.
3. A Manual of Corrective Gymnastics. Louisa C. Lippitt. The
Macmillan Co., pp. 123—162.
4. Clothing and Health. Helen Kinne and Anna M. Cooley. The
Macmillan Co., pp. 89-93; 240-243.
5. Household Textiles. Charlotte M. Gibbs. Whitcomb, Barrows,
pp. 175-183.
6. Everyday Problems in Science. Charles J. Pieper and Wilbur
L. Beauchamp. Scott Foresman and Co., pp. 175-180.
7. "Do Your Feet Hurt? » Hygeia, June, 1925, p. 317.
8. Home and Community Hygiene. Jean Broadhurst. J. B.
Lippincott Company, Ch. VI.
CHAPTER V
HOW TO MAKE BLOOMERS
FIG. 42.
IN COMPARING the up-to-date girl with the old-fashioned
girl we found that the modern girl spends much of her time
playing tennis, hockey, basket ball and in taking long hikes.
This makes it necessary for the up-to-date girl to have a type
of garment in her wardrobe which the old-fashioned girl never
had. She must have garments that permit her to have perfect
freedom of movement. Bloomers and knickers answer this re-
quirement, so they have become very popular. These garments
which give so much freedom of movement to the modern girl
and woman are symbols of woman's long struggle for equal
rights in government, in business and in society generally.
Bloomers are named after a Mrs. Bloomer who devised and
wore them first about 1840 at Seneca Falls, New York, the
81
.
HOW TO MAKE BLOOMERS
town where the first woman suffrage convention was held a
few years later. The bloomer has steadily won its way to favor,
especially in recent years. The first bloomers were full and long
enough to be gathered in at the ankles. Imagine the inconveni-
ence of wearing such bloomers, especially in the gymnasium.
Bloomers have been so well liked that they are frequently worn
as an undergarment. The bloomers worn for sports or in the
gymnasium are fuller than the bloomers worn as an under-
garment. These latter fit the leg more closely. Sometimes the
bloomers are made to match the dress and then the combina-
tion is called the bloomer dress.
The different kinds of bloomers and knickers are made from
the same type of pattern and put together in the same general
way. However, the knickers are more difficult to cut and make.
Therefore, it will be wise for any one who has not had experi-
ence in sewing to select the bloomers rather than the knickers
for this sewing problem.
Bloomer Construction. — In the first part of Fig. 43 you
FIG. 43.
will see a pair of Indian leggings. The Indian always wore
these as a separate covering on each leg and tied them with a
leather thong to his belt so they would not slip off. The
bloomers that you wear are made on this plan, except that,
instead of tying each leg to your belt with a string, the two
legs are sewed together and put into a belt. The second part of
ORDERING YOUR PATTERN
83
FIG. 44.
Fig. 43 shows the two legs of a pair of bloomers before they
have been sewed together and the third part of the picture
shows them after they have been sewed together and put
into a belt.
Try cutting a small paper pattern for one leg of a pair of
bloomers. These might be cut from notebook paper or wrap-
ping paper. As soon as you
have finished cutting your pat-
tern compare it with the bloomer
pattern shown in Fig. 44 and ask
yourself the following questions
to see if you really understand
this type of pattern.
1. Did you think to allow
extra length in the back ?
This is necessary so that
the wearer has room to
sit comfortably. Can you
find the back in Fig. 44?
2. Did you make the two edges that sew together to form
the leg of the same length? Can you find these edges
in Fig. 44?
3. Did you cut your pattern wide enough to allow for full-
ness at the waist and knee?
4. Did you make the top and bottom edges different in
shape? Fig. 44 will show you how the top and bottom
are usually shaped.
If you made mistakes in your small pattern it will be worth-
while for you to try to cut a better one. This will help you to
understand the full size bloomer pattern from which you will
cut you own bloomers.
Ordering Your Pattern. — The class should now decide
with the help of the teacher whether all the girls in the class
will make gymnasium bloomers, or whether some girls will make
84 HOW TO MAKE BLOOMERS
bloomers to match dresses or bloomers to be worn as under-
garments. If you already have all the bloomers that you need
it will be a good plan to make them for your sister. Appoint a
committee to buy the patterns that will be necessary for the
class. It is economical to get only one or two patterns of each
size and kind. These patterns are made to fit girls of average
size for different ages, so if you are large for your age you may
require a pattern for an older girl. Give your committee defi-
nite directions for purchasing the patterns.
Suitable Materials. — It will be advisable to appoint an-
other committee to go to the stores and get samples of suitable
materials. This committee should get not only the samples, but
the width of each material and the cost per yard. The com-
mittee should be ready to make its report at the next lesson.
When you made the kimono type of garment you became famil-
iar with several kinds of cotton cloth. Some of these materials
are also suitable for making bloomers that match certain
dresses. Bloomers are often made from other materials such as
galatea and sateen. Your committee should get samples of all
the materials suitable for making bloomers. Each girl should
also ask her mother for samples of suitable material that she
jnay bring to school for the next lesson.
Selection of Material. — Before you can select your mate-
rial wisely, you should have a clear understanding of the char-
acteristics and use of each of these materials. Make a more
complete list on the blackboard than the one given below of the
materials that are suitable for each type of bloomers. You
may find that the same material is suitable for two different
types of bloomers.
Undergarment
Gymnasium bloomers Dress bloomers bloomers
1. Galatea 1. Gingham 1. Sateen
2 2. Percale 2
3. 3 3
4. . 4. . 4. .
SELECTION OF MATERIAL
85
You may wonder why it is that some of these materials are
especially suitable for certain kinds of bloomers. If you will
examine the samples closely and compare the weaves with the
pictures of weaves in Fig. 45 you will learn one reason why
FIG. 45.
th:s is true. A magnifying glass is a great help in examining
the materials. You will note that gingham and percale have the
same kind of weave as shown in the first part of Fig. 45. This
FIG. 46.
is the most common of weaves and is called the plain weave or
tabby weave. A simple way of making the plain weave on a
small cardboard loom is shown in Fig. 46. Perhaps you have
86 HOW TO MAKE BLOOMERS
done a small piece of weaving on a loom similar to this. The
long straight threads are called warp threads and the threads
that pass back and forth are called filling threads. Can you
describe the way in which the filling threads cross the warp
threads in the plain weave? This weave makes a strong, firm
cloth that launders well.
1. Pick out all the samples that were brought in which are
made with the plain weave.
2. Count all the dresses which the girls in the class are wear-
ing that are made with the plain weave.
Twill Weave. — If you examined your samples carefully
you found that some of them were made with a weave like that
shown in the second part of Fig. 45. A strong, diagonal effect
is quite evident. Galatea is an example of this type of weave
which is known as the twill weave. By examining Fig. 45 you
can see how the filling threads pass over and under the warp
threads. £rhe twill weave is the strongest, firmest and most
durable of all the weavesT) Therefore, it is easy to see why
galatea is a most suitable material for gymnasium bloomers.
Examine your clothing to see how many girls in the class are
wearing materials made with a twill weave.
Satin Weave. — There is still a third kind of weave that is
different from either the twill weave or the plain weave. It
has a smooth, lustrous surface on the right side and is known
as the satin or the sateen weave. It will be easy to remember
this because the name of one material suitable for bloomers
is sateen. Examine the third weave in Fig. 45 and notice that
the threads are woven together in a way which leaves long
threads on the surface of the cloth. When you examine the
surface of a piece of sateen you can see these little threads
which lie on the surface and give the sateen a smooth, lustrous
appearance. Materials made of the satin weave are not so
durable as those made from the plain or twill weave because
CUTTING THE BLOOMERS 87
these threads are apt to catch and wear. However, sateen is a
popular material especially for bloomers worn as undergar-
ments because it is soft and comfortable. It is also used for
gymnasium bloomers although it is not as durable as galatea.
Ordering Your Material. — The amount of material neces-
sary for you to buy is printed on the envelope of your pattern.
However, you should know how to estimate the amount of mate-
rial without referring to the pattern, FlG. 47.
because the amount given on the pat-
tern may not be the right amount for
your bloomers. A good seamstress
knows how to estimate the amount of
material needed for a garment without
referring to a pattern. Fig. 47 shows
how the bloomer pattern is laid on the
folded material. If your bloomers measure twenty-seven inches
from the waist to the knee how much material will you need for
the pair of bloomers? Work with a partner as you did when
you made your kimono and take measurements from waist to
knee. Should the length of the bloomer be longer than this
measurement? Make out an order slip like the one below and
have your teacher approve it before you buy your material.
Name Length of bloomers
Kind of bloomers Amount needed
Name of material Total cost
Cost per yard
It is well to consider at this time what other materials such
as thread, elastic and buttons will be needed.
Cutting the Bloomers. — In making garments a great deal
of attention is always given to the lengthwise and crosswise of
the material. Lengthwise, of course, is the direction of the
material that corresponds to the selvedge edges and is some-
88 HOW TO MAKE BLOOMERS
times called the up and down of the material. These up and
down threads are the same as the warp threads and are gen-
erally stronger than the crosswise or filling threads. Most
garments are cut so that the lengthwise of the material runs
lengthwise of the garment. You will remember that kimonos
and nightgowns are cut this way. This is also true of the
bloomers. In the case of the kimono the material was folded
lengthwise so as to cut both sides of the garment exactly alike.
It is also necessary to cut the two legs of the bloomers exactly
alike but the pattern is too wide to permit the material to be
folded lengthwise. Can you tell from Fig. 47 how the material
should be folded? Folding material with a right and wrong
side also prevents cutting the two halves of the bloomers for
the same leg.
Commercial patterns have directions and diagrams printed
on the envelops that are helpful in using the pattern.
1. Examine your pattern to see if the diagram shows how
to lay your pattern on the material.
2. Are the seams allowed on your pattern?
3. Can you find the marks which show how the garment
should be put together?
4. Do you think you could cut the waistband if there were
no pattern given for it? Why?
When you think you understand the directions pin your
pattern on the cloth and then ask your teacher if it is correct.
This may prevent your making mistakes which would ruin
your material. It is a good plan for the girls in a class to
take turns helping each other when they are cutting out
their bloomers. y\jA£/
How to Put Bloomers Together. — When you start to
put your garment together it may seem very puzzling to know
HOW TO PUT BLOOMERS TOGETHER
what two edges to sew together first. The first part of Fig. 48
shows how the first two edges are joined in a seam. The sec-
ond picture shows the legs folded together so that another seam
can be made. The third picture shows the bloomers after
FIG. 48.
this seam has been made. The last picture shows how the
bloomers should look after all the seams have been finished.
Another method of putting bloomers together is shown in
Fig. 49. The first part of Fig. 49 shows the bloomer leg before
PIG. 49.
90
HOW TO MAKE BLOOMERS
FIG. 50.
it has been sewed together. The second part of Fig. 49 shows
how each leg is sewed up and the third picture shows how the
two legs are joined. It is very important to get the legs sewed
together exactly right. Otherwise both parts may be made for
the same leg. It is a good plan to lay the two parts of your
garment out on the table and fold them so that they are ex-
actly like Picture 2 of Fig. 49. Then they should be pinned
and sewed.
Fig. 50 shows a mistake in sewing up the two legs. It is
impossible to join these two
legs and have the edges match.
The girl who is careless in lay-
ing out her garment and pin-
ning it together is apt to make
this mistake. If you follow
the directions given above you
will not make this mistake.
Seams. — A seam which is
frequently used on bloomers is
the fell searn. Since you have
already learned how to make French seams it will be a good
plan for you to learn how to make the fell seam and use it on
your bloomers. This seam, which is often called the flat felled
seam, gets its name from the fact that it is flat on the material
and has no part that stands up as in the French seam. For
this reason it is an especially good seam to use for underwear.
You can learn how to make this seam by studying the diagrams
in Fig. 51 and answering these questions.
1. Place the two right sides of the material together and
make a seam as shown in the first part of Fig. 51.
If left in this condition what would this seam be
called? How is this beginning for the fell seam dif-
ferent from the beginning for the French seam?
Notice that the orange color shows the right side of
the material in each of these pictures.
SEAMS
FIG. si.
91
HOW TO MAKE BLOOMERS
2. Study the second and third parts of Fig. 51 to find out
why one edge of the seam must be trimmed off. It
should be trimmed to about one-eighth of an inch.
Care should be taken not to cut so close that the seam
will pull out.
3. The seam should be creased and basted carefully to
hold it in position while the seam is stitched.
Can you think how the two edges might be placed together
in the first seam so that it is not necessary to trim one edge?
Warning : It is a common mistake to fail to pull the mate-
rial out flat when the seam is made. If this is not done it will
have folds and wrinkles which show on the right side. Be sure
to examine the right side of the seam before you stitch.
Inspection of Fell Seams. — While you are working on these
seams have your work criticized frequently, either by your
teacher or by some girl in the class whom the teacher may
appoint to help her. When do you think will be the best time
for you to have your work criticized?
A Reminder. — Have you formed the habit of sitting prop-
erly? Which picture in Fig. 52 shows the best position when
FIG. 52. >^
sitting at the machine? When doing hand sewing? What is
wrong in the other pictures?
Finish at the Top. — There are two possible ways that you
may use to finish the top of your bloomers. They may be fin-
ished with a hem which holds an elastic. If you decide to use
this way of finishing your bloomers at the top, you should take
great care that the elastic is not too tight. If it should be too
tight it would not only be uncomfortable, but would be injuri-
CONTINUOUS PLACKET
93
FIG. 53.
ous because it would interfere with the proper circulation of
the blood.
You have already learned how to make a hem and Fig. 53
shows you how to leave an opening to insert the elastic. How
would you finish the lines of stitching in order to make them
strong?
A second way of finishing the bloomers at the top is with
a belt and an opening at the
side, called a placket. Some-
times there is a placket on
each side and sometimes only
on the left side. You must
decide which finish is better
for the top of your bloomers.
Continuous Placket. — A
placket that is strong and
simply made is called the con-
tinuous or bound placket.
Both of these names describe the placket because one continu-
ous piece of cloth is used to bind the placket opening.
1. How can you cut the placket opening so that it is per-
fectly straight? There is a suggestion on page 26
that will help you.
2. The strip for binding the placket should be cut length-
wise of the material. Can you give reasons for this?
3. The placket piece is put on in exactly the same way
as the straight binding is put around the neck of the
kimono. If you have forgotten how this is done read
the directions and look at the picture on page 49.
4. Which sides of the placket strip and the bloomers should
be placed together for the first seam? Remember
that the last stitching should be done with the right
side up. The orange color in the pictures shows the
right side of the cloth.
HOW TO MAKE BLOOMERS
5. Notice in the first picture of Fig. 54 how the seam tapers
at the bottom of the opening. Can you see why this
is necessary? The basting stitches should be very
small around the bottom of the opening. Why?
6. The right side of the finished placket is shown in the
FIG. 54-
third part of Fig. 54. Notice that one side of the
placket is folded back against the garment. What
would happen if you forgot to do this when the gar-
ment is put into the belt?
Inspection of Work on the Plackets. — 1. Be sure that you
have your work criticized frequently so that you will
make a good placket.
2. At what stages in your work do you think it will be best
to have your work criticized?
Do You Make Speed in Your Work? — 1. How long does
it take you to do your work in comparison with the
other girls in the class? Why are you slower or
faster than the other girls?
2. Report at the end of the lesson how much you have
accomplished. Try this for the next three lessons.
3. Learn when to baste and when not to baste. When is it
a saving of time to baste? When is it a waste of time
to baste?
A Problem to Solve : Putting on the Waistband. — If the
PUTTING ON THE WAISTBAND
top of your bloomers fitted tightly at the waist there would be
no new problem because the band is put on exactly like a bind-
ing. However, the top of the bloomers has fullness that must
be fitted into the band. Your problem is to find out how to do
this correctly.
Preparing the Band. — 1. Which way of the cloth will you
cut the band? Remember that it is similar to the
bound placket and the straight binding around the
neck of the kimono.
2. What will be a good width for your band? Examine
your own clothing to help you to decide and remember
the band is to be folded before it is finished.
3. How will you determine the correct length for your
waistband? Add enough to allow for turning in at
the ends and for the lapping of the plackets. If you
plan to have a placket opening on both sides you
should find out whether the front or back band should
be longer.
Making the Top of the Bloomers Fit the Band. — 1. The
first part of Fig. 55 shows how to mark the band and
FIG. 55-
LL
the top of the bloomers in sections so that they corre-
spond with each other. This division is generally
made in halves or quarters. Why will it be better to
gather the top of the bloomers in sections rather than
all the way around?
96
HOW TO MAKE BLOOMERS
2. Notice the little ends that are left to turn in on the ends
of the bands. Why is this necessary?
3. The gathering stitch is used for gathering up the fullness
and the directions for this stitch are given below.
4. After gathering, the bloomers are basted and then
stitched to the band as shown in the second picture of
Fig. 55. Be sure that the gathers are distributed
evenly.
Finishing the Problem. — 1. What will you do with the extra
length that you allowed on the ends of the band?
2. Folding the band and stitching it in place is exactly the
same as on the placket or on the band around the
neck of the kimono.
3. Have you noticed in the picture how the stitching con-
tinues around the ends of the band? How will you
make the end of the line of stitching secure?
Directions for Gathering. — 1. Use a thread with a knot
at the end.
2. The thread should be a few inches longer than the sec-
tion to be gathered.
3. Make the line of gathering about one-quarter of an inch
from the edge of the cloth.
FIG. 56.
BUTTONHOLES 97
4. In thin or loosely woven material it is a good plan to
begin with a small back stitch to prevent the knot
from slipping through.
5. The needle should be pushed through the cloth with the
thimble.
6. When the needle becomes crowded push the cloth back
with the ringers without taking the needle out. See
Fig. 56.
7. Keep the stitches small and even.
8. Sometimes another row of gathering is put in about one-
eighth of an inch from the first row of gathers. Can
you think why this would be an advantage?
Watch some one demonstrate this stitch so that you will
understand it better.
Warning: Be sure that your gathers are evenly distributed
when you sew the bloomers to the band. A few pins will keep
them in place while you are basting.
Inspection of Bands. — Decide at what three stages of
work it will be best to have it criticized. _
Buttonholes. — The bloomers which are made with b
must be fastened by some means other than an elastic or draw- /r
string. Buttons and buttonholes are the strongest and most
satisfactory fastening. Study the directions and pictures to
find out how a buttonhole is made.
1. Mark the exact place for the buttonhole with two pins
which are placed to show FIG. 57.
the width of the button.
See Picture 1 in Fig. 57.
Cut the slit on the thread of
the cloth and make it
about one-sixteenth of an
inch longer than the width
of the button. Use but-
tonhole or sharp-pointed
I I
98
HOW TO MAKE BLOOMERS
scissors. If you do not have the proper kind of scis-
sors to do this, fold the cloth so that the places that
FIG. 57-
you marked for the ends
of the buttonhole come to-
gether. Clip through fold,
open out flat and finish
cutting the slit.
3. Overcast the edges
of the slit as shown in
Picture 2 of Fig. 57. Hold
the slit over the first
finger of the left hand and
work from right to left. When one side is overcast,
turn the work and again work from right to left. Do
FIG. 57. not break the thread.
4. Buttonhole stitch.
The thread will now be at
the end of the buttonhole
where the overcasting
started. Put the needle
between the edges of the
slit and bring it up through
the lower edge of the cloth
about one-eighth of an inch down from the slit. This
is shown in Picture 3 of Fig. 57.
FlG. 57. 5. Bring the double
thread from the eye of the
needle around the point of
the needle from right to
left as shown in Picture 4
of Fig. 57.
6. Pull the needle
through, forming the knot
on the edge of the slit as
BUTTONHOLES
99
shown in Picture 5 of
Fig. 57. This is the but-
tonhole stitch and should
be continued all the way
across the opening.
7. The ends of the buttonhole
may be finished in one of
two ways, with a fan or a
bar as shown in Picture 6
FIG. 57-
X N X X N
FIG. 57.
of Fig. 57. The fan which is simpler to make is
made with five buttonhole stitches slanted so as to be
shaped like a fan. The bar
is a stronger finish and is
made by taking three
straight stitches across end
of slit extending as far as
the buttonhole stitches on
each side. Then button-
hole stitches are taken
over these stitches and
through the cloth.
8. To fasten the thread run the needle under the stitches
on the wrong side and cut the thread close to the cloth.
Ask your teacher if she will demonstrate the making of a
buttonhole for you, using a large needle and colored yarn, on
a large buttonhole. It is difficult to make good looking button-
holes the first time you try. For this reason it will be best for
you to practice making a buttonhole before working the button-
holes on your bloomers.
Buttonholes may be made with fans at both ends or with
bars at both ends. Examine your clothing, especially your coats
and sweaters, to see how the ends of buttonholes are made.
You will probably find another way of making a buttonhole
called the bound buttonhole.
100
HOW TO MAKE BLOOMERS
Warning: Avoid the mistakes shown in Fig. 58.
FIG. 58.
7lTuni'f| iW
I. Stitches uneven in depth.
2. A buttonhole that has been
stretched open.
'/ r/i rnr
3. Stitches that are crowded.
Not enough stitches taken.
FIG. 59.
Sewing on Buttons. — Sew the buttons on your bloomers
according to the following directions, using a colored thread
which will match the garment.
1. Mark the exact place for the button, using the button-
hole as a guide and stick a pin through at the end of
the buttonhole where the button will come. How can
you tell which end this
will be?
2. Use a double thread with a
knot at the end.
3. Put the needle down through
the material at the point
where the pin is. This
will leave the knot on the
right side where it will be
concealed by the button.
4. Sew back and forth through
PAJAMAS 101
the button, first placing a pin on top of the button.
This will prevent the button from being sewed too
tightly to the cloth. See Fig. 59.
5. Pull the pin out and put the needle down through the
button but not through the cloth. Wind the thread
around the stitches about three times.
6. To fasten the thread bring the needle out on the wrong
side and take two or three little stitches on top of
each other. Then cut the thread close to the cloth.
Something You Can Do at Home. — Some girls like to wear
bloomers when they are helping with the housework at home.
Instead of wearing a house dress when they are helping their
mothers, they wear a pair of bloomers and a middy blouse. Can
you see why bloomers make a good costume for housework?
If you should decide that you would like to wear bloomers
when you are doing housework, you should find it easy to make
a pair at home or in your extra time at school. You have
already learned how to make bloomers. Therefore, you should
be able to make these without much help from your mother or
teacher. What kind of material do you think would be suit-
able for work bloomers?
Since you have learned to make bloomers, you should be
able to help your mother with the family sewing. Making a
pair of bloomers for your sister may be one way in which you
can do your share of work in your home.
MAKING OTHER GARMENTS SIMILAR TO BLOOMERS '
It is important that every girl in the class should under-
stand all types of bloomer construction. Then she will be able
to make other garments at home without the help of her teacher.
Two garments that are similar in construction to bloomers are
pajamas and knickers. Every girl should study the description
of these garments even though she does not have time to
make them.
Pajamas. — The pa jama suit is one garment which you
102
HOW TO MAKE BLOOMERS
FIG. 60.
might like to make at home, perhaps as an extra problem. See
Fig. 60. The top part can be made with the kimono type of
construction which you have already learned to do. The bottom
part is made like the bloomers, except that the legs are made
longer and generally left without gathering at the bottom. If
you understand bloomer construction you
will be able to answer these questions
correctly about pajamas.
1. Could you change the gymnasium
bloomer pattern or an under-
garment bloomer pattern more
easily into a pajama pattern?
Why?
2. What two finishes might be used
at the waist?
3. What finish would be most desir-
able at the bottom?
4. What kind of seams would you use
to sew up the leg?
Knickers. — A garment that is very
popular with the modern girl is knickers.
This garment is especially adapted to
wear for hiking, for camping trips and
such sports as golf or mountain climbing. For the most part
they are similar in construction to bloomers. However, they
are more difficult to make because of certain modifications in
construction. Even though you are not experienced enough to
undertake the making of a pair of knickers, you should read
the following paragraphs, so that you will understand how they
differ from bloomers.
The pictures in Fig. 61 show one of the differences in their
construction. Picture 1 shows the bloomer pattern which you
have learned to use. Picture 2 shows the knicker pattern
which, you will note, has two pieces for one leg. In Picture 3
you can see how these pieces are sewed together. The last
MATERIALS
103
picture shows one leg of the knickers sewed together. The
knicker pattern is cut in two pieces instead of one piece in order
to take out fullness and make it fit the leg more closely.
FIG. 61.
\J
FIG. 62.
Finish at the Top. — The fullness at the top of the bloomers
is gathered into a band or held by an elastic. In the knickers
this fullness is taken out so that the knickers fit smoothly
around the waist. Can you tell by looking at Fig. 62 how the
fullness is taken out of the knickers? If you understand the
picture fold a piece of paper to
show how this is done. This way
of taking out fullness is called a
dart. Put in pins to show where
the dart would be stitched.
Finish at the Bottom. — The
knickers are always finished at the
knee with a wide band. This
makes a much trimmer appearance
than when the fullness is gathered
up with an elastic.
Materials. — The knickers are
generally made from a heavier and firmer material than the
bloomers. Khaki is a very commonly used material that takes
its name from its color. The word khaki is an East Indian
word meaning " dust color." This material is always made
with a twill weave. Knickers are also commonly made from
104
HOW TO MAKE BLOOMERS
cotton corduroy and wool tweed. How many of you have
knickers made of one of these materials? If you decide to
make a pair of knickers it will be advisable to use khaki unless
you are an experienced seamstress.
Playing with Patterns. — Now that you have learned how
to use two types of patterns, the bloomer pattern and the
kimono pattern, it will be fun to try making up new ways of
using these patterns. The pictures in Fig. 63 will give you some
FIG. 63.
ideas. Every girl might keep her pattern a secret until all the
patterns are finished. Then see if the other girls can guess
for what the pattern was intended. Use large size notebook
paper or wrapping paper. Perhaps you can cut a pattern for a
garment that is not shown in the pictures.
FINAL TEST FOR BLOOMER TYPE OF GARMENT
This test is a final check-up on this unit of work. Review
the lessons on bloomers, knickers and pajamas so that you will
be ready for this test.
PLAYING WITH PATTERNS
105
PART I
What is wrong in this picture?
FIG. 64.
5 6
Write your answers on notebook paper telling what is
wrong in each picture. Make numbers which correspond to the
pictures.
106
HOW TO MAKE BLOOMERS
PART II
Cotton Cloth Crossword Puzzle
Every word in this puzzle is the name of a kind of cotton
cloth that you have studied while making your kimono, night-
gown, apron or bloomers. Each word will just fit into the
blank spaces arranged horizontally or vertically in the puzzle.
If there are too many or too few letters in your word to fit the
spaces, it is not the right word. You should be able to give
the right words from the descriptions given below.
HORIZONTAL WORDS
1. A cotton material with a soft, fuzzy feeling.
2. A cotton material generally made with a pattern that is
woven in checks, plaids or stripes.
COTTON CLOTH CROSSWORD PUZZLE 107
3. A material that is of a brownish color and made with a twill
weave.
4. A material made with a crinkly surface.
5. A kind of soft, light-weight underwear material.
VERTICAL WORDS
1. A kind of underwear material with a glossy finish.
2. A kind of material made with a weave that is very smooth
and lustrous on the right side.
3. Material made with a twill weave which comes in various
colors.
4. The first word in a kind of soft, fuzzy material used for
underwear and nightgowns.
5. A material made with a stiff finish and a small printed
pattern.
PART III
Finish the Sentence Test
Copy these sentences, filling in the blanks with the correct
word.
1 . The fell seam is turned to the side.
2. The waistband should be cut of the material.
3. The placket used on the bloomers is called either a
or a placket.
4. Two ways of finishing the top of the bloomers are with a
or with a
5. The last stitching in putting on the band should be on the
side.
PART IV
Things to Remember Test
Make a list on notebook paper of the things that you
should remember when you are:
1 . Cutting the strip for the placket. 1
2..
108 HOW TO MAKE BLOOMERS
2. Cutting the opening for the placket. 1
2 ,
3. Gathering. 1
2
3
4. Putting the bloomers to the band. 1 ,
2
3
5. Finishing the top of the knickers. 1
CHAPTER VI
HOW TO DRESS IN GOOD TASTE
What Is Meant by " Good Line " ? — When one goes to a
shop and tries on ready-made dresses, the saleswoman is likely
to say, " Here is a dress that has good lines." Do you know
what she means when she says, " good lines " ? It may mean
several things. The lines of a garment are formed by the edges
of the collar, cuffs, skirt-hem, waist line and general shape or
cut of the garment. For example, the neck line of a dress may
be round, V-shaped or square and the dress may be cut as a
straight one-piece dress or made with a bloused waist. These
are the things which make the " lines " in a garment and to
have a good looking dress all these lines must be in harmony
with each other.
Harmony of Line. — The lines in a dress should seem to
agree with each other. In Fig. 65 the first picture shows a dress
that has a combination of straight lines, the general outline of
the dress, the collar, the sleeves and other parts of the garment
all being constructed with straight lines. This, of course, helps
to make the lines harmonious. In the second dress it is easy to
find the curved line harmony in the neck line, the bottom of the
skirt and the blouse of the sleeves at the cuff. Even the loop of
the beads seems to belong to the general effect of curved lines.
When the same kind of line is repeated in different parts of a
design, the effect is sometimes called rhythmic line. If you were
asked how the rhythm of line differs in these two dresses what
would you answer? Good lines in a dress mean that all the
lines seem to belong together or that they are harmonious.
This does not mean that straight lines and curved lines are never
to be used together. Sometimes very harmonious combinations
of straight and curved lines are used.
109
110
HOW TO DRESS IN GOOD TASTE
FIG. 65.
HARMONY WITH THE LINE OF THE BODY 111
FIG. 66.
When a dress is decorated with trimming, such as lace,
braid or embroidery, the lines made by the trimming should
harmonize with the lines of the dress. In Fig. 66 you will see
the same dress decorated with embroideryin two different ways.
In which one are the lines of the embroidery in harmony with
the bottom of the dress? What is wrong with the lines in the
embroidery on the sec-
ond dress?
Something to Do. —
1 . Find a dress
design in a
fashion -book
which you
think has good
line harmony.
Cut it out or
trace it and
mount it.
Write an ex-
planation of
why you think
it a good har-
mony on back
of your paper.
2. Find a design which you think is poor in line and show
the class how you would improve it.
3. Find a dress that is good in line harmony, and explain
why it is good.
Line Should Be in Harmony with the Line of the
Body. — Artists say that the lines of the human body make a
most beautiful harmony and everyone who has learned to ap-
preciate beautiful lines agrees that this is true. Can you see the
beautiful lines in the body of the champion swimmer shown in
Fig. 41? This is the natural and normal figure for a girl who
has always taken plenty of exercise and participated in out-
8
112
HOW TO DRESS IN GOOD TASTE
door games. Since the lines of the normal figure are beautiful
does it not seem wrong to put clothing upon it which changes
its outline completely? In Fig. 67 you will find two dresses,
one a modern sport dress and the other a dress worn many
years ago. Which one seems to emphasize the natural outline
FIG. 67.
of the figure and which one distorts it? In one the waist line
is squeezed in so that the body is distorted entirely out of its
natural shape. What other line seems to distort the natural
line of the figure?
Line in Relation to Different Figures. — The meaning of
" good line " includes the relation of lines in the dress to the
type of figure that wears it. Because of the variation in dif-
ferent types of figures, the same dress may be good line for
NECK LINES
113
some figures and not good for other figures. The stout figure
should not wear a dress with lines that tend to emphasize its
stoutness. In the first picture of Fig. 68 the horizontal lines
and the short skirt make the figure look shorter than it
really is. In the second picture the same figure does not look
so stout because of the long, straight vertical lines. What other
FIG. 68.
things make the second figure look more slender" ? Measure
the figures to see if they are the same size. In the case of
a very tall figure that is painfully thin the opposite use of lines
is helpful. Fortunately, most girls of your age have fairly
normal figures. If you have a very stout or a very thin figure
it is more important for you to learn how to eat and to exercise
properly in order to correct your figure than to learn how to
dress in order to conceal it.
Neck Lines. — An important line is the neck line because
of its effect on the face. Faces are generally classified as being
114
HOW TO DRESS IN GOOD TAST
SQUARE FACE
round, oval, square, or long and pointed. The oval face is least
affected by different shaped neck lines. Which neck line in
Fig. 69 is more becoming to each of the three types of faces?
Anyone of these shaped faces may be very attractive and it is
Fia 69. important to know the best
kind of neck line.
1. Classify the faces of the
girls in your class
according to shape.
2. What shaped neck line
do you think most
becoming to your-
self? Ask the other
girls in the class if
they agree with you.
3. Study the hairdresses
in Fig. 69 and be
prepared to tell
which style is most
becoming to each
type of face.
4. Discuss the collars that
the girls are wear-
ing. Which are most
/ becoming?
GOOD SPACING OR PROPORTION
IN A DRESS
Harmonious line is by no
means all that is necessary in
order to have an attractive dress. Good proportion or good
spacing as it is sometimes called is equally important with good
line. In Fig. 70 there are two pictures of the same dress, show-
ing different proportions between skirt and waist. In the first
LONG-THIN-FACE
GOOD SPACING IN COLLARS
115
FIG. 70.
picture the belt is placed so that the skirt and waist are equal
in proportion. Note how much more interesting the proportion
is in the second dress where
the division of spaces is
unequal.
Compare the length of
sleeve in the two dresses. The
sleeve that divides the arm
exactly in half from the
elbow to shoulder makes an
ugly length because it is not
well spaced. In the other
dress the sleeve comes just
above the elbow, which is
better proportion in relation
to the arm. Can you recall
another length sleeve that is
equally as bad as that in the
first picture of Fig. 70?
Give another example of a
sleeve that is a good length.
Good Spacing in Collars. — Good proportion in widths of
collars is a particularly important thing in planning the pro-
portions of
a dress.
Fig. 71
shows the
same style
of collar
planned in
two differ-
ent widths.
In the first
picture the
FIG. 71.
116
HOW TO DRESS IN GOOD TASTE
collar covers just one-half of the shoulder. Why is the arrange-
ment of spaces in the other picture more interesting?
Something to Do. — 1. After reading these paragraphs and
studying the pictures you should be able to make a
rule for good spacing. Have a class discussion to
decide upon this rule.
2. Find a picture in a fashion book showing good propor-
tion of parts. Either trace it or cut it out and then
mount it. Write an explanation as to why you think
it has good proportion.
3. Have a class criticism of the proportion in the clothing
worn by you and your classmates. Remember that
criticism means picking out good points as well as
bad points.
Proportion of the Human Figure. — The proportions of
FIG. 72.
MATERIALS IN GOOD PROPORTION
117
the normal human figure are as beautiful as its lines. For
example, the waist line does not divide the figure exactly in half
from top to bottom. The elbow does not divide the arm exactly
in half. Since the proportions of the natural human figure are
good, the clothing should emphasize these natural proportions.
The first picture in Fig. 72 shows a dress in which the sleeves
and shoulders are quite unnatural in proportion. Can you see
how the other costume distorts the natural proportions of the
human figure?
Hats as well as dresses should conform to the natural pro-
portions of the human figure. A hat which exaggerates the size
[A; FIG. 73- '>— •***'
of the head makes the figure look top heavy and overbalanced.
A very small hat perched on top of the head looks ridiculous
because it is out of proportion to the head and to the rest of
the figure. How do present fashions take into account the
natural proportions of the human figure?- Have you any old
photographs at home which show hats or dresses that are out
of proportion to the figure? Which hat in Fig. 73 is in good
proportion to the figure?
Combining Materials in Good Proportion. — Another
problem in proportion which often occurs is when two materials
are combined in the same dress. The rule which you made for
118
HOW TO DRESS IN GOOD TASTE
good spacing should tell you that equal division of spaces is
uninteresting and should be avoided. According to this rule
do you think the dress in Fig. 74 has good spacing?
Plajinjng the widtk^tji hem or the width of a belt are also
FIG. 74. ^*v problems in proportion,
you think of still other
ims in good spacing:
/
A STUDY OF COLOR
2olor Everywhere. —
The
world is full of color.
Eve
ywhere you turn you
see
olor, color in the trees,
the
greens of the leaves, the
gray
sh browns of the
trun
LS, the browns of the
eart
i, color in passing auto-
mot
les and in housetops.
Th£ very room in which you
are; sitting is full of many
colors, the color of .the
walls, the desks, the books
'and the clothing of yourself
and your companions. If
yon were asked, could you name each of these colors before you?
With a world so full of color it may seem that a study of color
and color harmony will be confusing and hopeless. However, it
is not so confusing as it seems and is most interesting.
Color Families. — An easy way of beginning the study of
color is to learn to recognize any color as belonging to a certain
family group. Can you believe that all the colors in the world
belong to one of six color families? This is hard to believe
when we stop to think of the thousands of colors which sur-
round us. There are many color names as well as many colors,
sometimes two names for the same color. Every season we
COLOR FAMILIES
119
have what the merchants call " new " colors. These are not
new colors, of course, but merely new color names for the same
colors. The manufacturers give new color names to the popular
colors of the season. For example, lavender may be called
orchid one season and periwinkle the next season. These color
names are often very pretty and we like to use them as long as
we know their true meaning.
Fig. 75 shows the six color families and some of the mem-
FIG. 75-
bers belonging to each family. The red color family has a dark
red, called maroon, a bright red which is crimson, a light deli-
120 HOW TO DRESS IN GOOD TASTE
cate red, which is pink, a violet red which is cerise and an
orange red which is henna. There are many other kinds of red
which belong to this family. Each of the other color families
has several members as you can see in Fig. 75. There are many
more color names which can be added to this circle of names.
Can you think of any?
In discussing color someone always asks about black, white
and gray and it is quite true that they do not belong to any one
of these families. Have you ever had a pink dress that was
washed and hung out in the sun to dry? It probably faded and
if the dress was washed a great many times the pink may have
faded out completely. When a garment fades we say it loses
its color. After the pink dress lost its color it was white. If
it is white and has already lost its color then white can not be a
color. White is called a neutral. Black and gray are also neu-
trals because like white they have no color. This means that
they do not " take sides " with anyone of the color families but
remain neutral, like a neutral country in time of war. As a
matter of fact we seldom see very pure grays because most
grays are tinged with color, as for example, blue gray, brownish
gray or rose taupe gray.
Something to Do. — 1. Find out what are the most popular
colors this season and to what color families they
belong.
2. Have a Color Circle Contest. Each girl should make a
color circle and put in as many names for each family
as she can find. The winner of this contest will have
the greatest number of names, each correctly located.
Make your own rules for the contest.
3. If you are not convinced that some of these colors belong
to these families experiment with paints or crayons.
If it does not seem to you that brown belongs to the
orange family you can prove it by mixing a dark
MONOCHROMATIC HARMONY 121
orange. You can make a dark orange by adding
black. Remember that black is not a color, it merely
makes your orange darker. Try making a dark yel-
low by adding black.
4. Where does red hair belong among the color families?
Color Harmony. — There are several kinds of color har-
monies but we will study three simple ones that are commonly
used. It is important for you to understand color harmony
because colors are often combined in the same dress or when
hats, shoes, dresses and coats are worn together. Sometimes
a clerk in her effort to make a sale will say, " You can wear this
with anything." This is not true unless it happens to be black,
white, or gray because you remember these are neutrals and do
not take sides. However, even neutrals combine with some
colors better than with others.
^- Monochromatic Harmony. — This type of color harmony
is made by using different tones of one color or as it is some-
times called a selftone harmony. A brown dress with ecru
collar and cuffs, a brown hat with an orange feather and tan
shoes and stockings make a monochromatic color harmony.
Different shades and tints of a color are called values, that is, a
light tint of blue is a light value of blue and a deep shade of
navy blue is a dark value of blue. Another way of describing
the monochromatic color harmony is to say it is made up of
different values of one color. Black, white, or gray are some-
times added as a part of this color harmony. For example, a
cretonne drapery may have a white background with a pattern
in values of blue outlined in black.
Merely to combine different shades of one color is not a
guarantee that a real color harmony will result nor can any
definite rule be given for the exact shades of colors that can be
harmoniously combined. The best way of learning how to make
good monochromatic harmonies is to practice combining colored
materials.
HOW TO DRESS IN GOOD TASTE
Something to Do. — 1. At your next lesson plan to have a
demonstration and discussion of monochromatic color
harmonies. Each girl should bring as many samples
and pieces of colored cloth as possible. Try different
monochromatic combinations and decide by class vote
which ones are most harmonious.
2. Can you plan a room in a monochromatic color harmony?
Adjacent Harmonies. — Another type of color harmony,
spoken of as the adjacent color harmony, is made by a com-
bination of different colors instead of different values of one
color. It is also called the analogous color harmony. This
harmony is always made up of colors that are neighbors on the
color circle. Since blue and green are neighboring colors, a
navy blue dress embroidered with peacock blue and jade green
is an example of an adjacent color harmony. Just as with a
monochromatic harmony, the colors must be combined cor-
rectly in order to produce a real harmony. A bright scarlet red
coat worn with a bright orange hat is not likely to produce a
harmonious effect although red and orange are next to each
other on the color circle. It will be easy for you to see which col-
ors combine most pleasingly if you will experiment with colors.
Something to Do. — 1. Collect samples of colors and experi-
ment in combining them just as you did with mono-
chromatic harmonies. Make the best adjacent har-
mony that you can from your samples and then ask
your teacher and class if it is a good harmony.
2. Find adjacent color harmonies in magazines and out-
doors.
Complementary Harmonies. — The colors which are di-
rectly across the color circle from each other are called com-
plementary colors. By examining the color circle in Fig. 75
you can see that red and green are one pair of complementary
colors, violet and yellow another pair, and blue and orange the
third pair. In order to secure a complementary harmony it
COMPLEMENTARY HARMONIES 123
does not mean that you can combine any red and green, a scarlet
red and emerald green, for example, and have a truly harmoni-
ous effect. The two complementary colors must be selected
carefully. Sometimes this is done by selecting two comple-
ments that are light and delicate in tone. Instead of combin-
ing the scarlet red and emerald green, you might choose to
combine a pale, sea green with a delicate pink for a party dress.
Another way of harmonizing complements is to keep both colors
dull; for example, rather than to combine a bright Alice blue
and a brilliant burnt orange in a sport suit it would probably be
better to combine a duller blue with a soft tan. Complements
offer the most violent contrast of color that is possible and to
use them both in full strength is very likely to give a disagree-
able effect. We say that the colors " fight " with each other.
Another way to avoid this is make one Color dull and subdued
so that it can be combined with a bright color without a " fight."
A dull blue sport dress with a bright orange tie illustrates this
method of producing a complementary harmony.
There are other ways of producing complementary har-
monies but it will be helpful to you to remember the three ways
described above. Further illustrations of these three methods
of producing color harmony are given in this paragraph. First,
Jcomplementaries may be harmonized by making both colors
pale and delicate, as, for example, combining a pale lemon
yellow with a delicate orchid color. Delicate colors of this type
are often referred to as pastel shades. A second method of pro-
vV/ducing a complementary harmony is to make both colors dull
or perhaps dark and rich. A dark, red mahogany chair uphol-
stered in dark, rich, green velour illustrates this type of har-
mony. The third way of harmonizing complementaries is to
keep one color dull and make the other color bright. In such
a combination it is best to use a small amount of the bright
color. A dull blue curtain behind a bowl of bright orange
bittersweet is an example of such a harmony.
124 HOW TO DRESS IN GOOD TASTE
Something to Do. — 1. Experiment with samples of mate-
rials and decide by discussion with your class what
complementary combinations are most harmonious.
2. Keep a list of the complementary combinations which
you see before your next lesson. You will see these
in books, flowers, costumes, pottery and many other
places. Be prepared to describe to the class a com-
bination that you thought particularly pleasing.
3. Plan the colors in your new outfit for next season accord-
ing to one of the three types of color harmonies, mono-
chromatic, adjacent or complementary. This is to
include hat, shoes, dress, coat and gloves. Write a
description and mount samples of the colors so that
they will be in a convenient form for class criticism.
Choosing a Color to Wear. — When you are choosing a
color to wear you may think about the color of your hair and
eyes but if you are wise you will think far more about the color
of your skin. It is the skin color that helps most to give the
general effect of health and beauty. Every girl likes to have
pink in her face because it is a sign of health and well being.
The colors which she chooses to wear may make her look rosy
or they may make her look more pale and sallow. Occasionally
there is a girl who has too much color in her face and she wishes
to look less ruddy. If you do not have a perfect complexion
but one that is rather pale and sallow, the most helpful thing
that you can do is to eat and exercise properly so that your
complexion will improve. That should be your first considera-
tion before learning what colors are most becoming for you
to wear.
Reflection of Color in Your Face. — One way in which the
color of your dress may make your face seem more pink is by
means of reflection. Did you ever hold a dandelion under your
chin to see if it reflected yellow on your neck? Try holding
a piece of pink paper under your chin and ask your neighbor
EFFECT OF COMPLEMENTARY COLORS 125
if it reflects any color on your neck. It is easy to see from this
experiment how the color of your dress may reflect into your
face and make it look more rosy or more sallow according to
the color of the dress. Pale colors or pastel shades are not
strong enough to reflect color to any noticeable extent. A bright
yellow dress may reflect so much yellow into a sallow face that
it is very sallow indeed. A pale yellow dress would not have
the power to reflect so much yellow and therefore has less effect
on the color of the skin.
Something to Do. — 1. Experiment by holding pieces of col-
ored paper or cloth under the chins of other girls to
see how color is reflected. Try samples of the same
colors but of different values, for example, a pale pink
and a bright red.
2. Ask the opinion of your neighbor as to the most becom-
ing color that can be reflected into your face.
Effect of Complementary Colors on the Complexion. —
When complementary colors are contrasted with each other,
each of the colors seems brighter. You can prove this by ex-
perimenting with two pieces of paper complementary in color.
One piece should be much larger than the other. First, hold
the colored papers apart. Then place the small piece in the
center of the large piece. In which position do they appear
brighter? Try this with pale colors as well as with bright colors
in order to see the effect. A sallow complexion, which means
that there is a great deal of yellow and orange in the skin, may
look more sallow if a bright blue dress is worn. A lavender or
purple dress is also likely to make the skin look more yellow.
A dark blue dress such as navy blue or midnight blue seems
to have little effect, however, on the sallow complexion because
the colors are so dark that the contrast of color is not evident.
Most girls have good complexions and do not have to avoid
certain colors. They wear different colors for the sake of
126 HOW TO DRESS IN GOOD TASTE
variety. Yet it is always true that one or two colors are most
becoming and you will be interested to know which colors are
most becoming to you. If you have a favorite color find out if
it is the most becoming color for you to wear.
Something to Do. — 1. What color might bring out the red
in your face by means of contrast? What color might
bring out the red by means of reflection?
2. Experiment with large pieces of different colored cloth
by draping them around your shoulders and ask your
classmates to tell you which colors are the most be-
coming. Be sure that the cloth is pulled close around
the neck so that the full effect of the reflection and
contrast is seen.
THER THINGS NECESSARY TO BE WELL-DRESSE
No matter how good the line, nor how beautiful the color,
we do not appear well-dressed if our dress is covered with lint
and lacking a button or two. It is not truly artistic to be care-
less or untidy in one's dress. The girl who is well-dressed is
particular to see that her clothes are well taken care of, that
her hat, dress and coat are brushed, her shoes polished, spots
removed from her clothing, rips sewed up and buttons or fast-
ners sewed on. You have probably already learned how to do
these things, but have you ever realized how important they are
in helping you to be well-dressed?
Wear the Right Thing at the Right Time. — To wear the
right thing at the right time is so important that in some schools
the girls have formed clubs to study this problem. They be-
come so enthusiastic about it that they make rules for them-
selves as to what they should wear at school. A school is a
work place and it seems absurd to think that a girl who wishes
to be well-dressed would wear fancy dresses, silk stockings and
satin pumps to school.
YOUR HAIR 127
Something to Do. — 1. Appoint a committee to prepare a
report on " What to Wear at School."
2. Do you think there is need of a club in your school to
encourage girls to wear correct clothing at school?
Have you seen any girls to-day who are not well-
dressed for school?
3. If you have already organized a W. T. W. Club, this club
should make some rules about appropriate clothing
for school.
PERSONAL HYGIElJ^NECESSARY TO BE WELL-DRESSED
No matter how attractive your clothing may be, you can not
be well-dressed unless the body is also well cared for. This
means that the hair, skin, teeth, and hands all contribute to a
well groomed, attractive appearance.
Your Hair. — If you will study the pictures of women
famous for their beauty you will find that one thing which adds
to their charm is the simplicity and naturalness of the hair-
dress. They do not curl their hair until it is frizzed out of its
natural style. The hair that is well taken care of has a natural
luster and when done in a simple, natural style is far more
beautiful than greasy, ill-kept hair, done in the most elabo-
rate fashion.
A good, healthy physical condition of the scalp is necessary
if you wish to have your hair in good condition. Cleanliness
is the first thing to be thought of in this connection. There is no
more reason for supposing that it is healthy to have a dirty
scalp than to have a dirty face. Oily scalps collect dirt and
dust rapidly so that they require a more frequent shampoo than
other scalps. Physicians often recommend a shampoo once a
week for such scalps. Dry scalps need not be shampooed as
often as oily scalps in order to keep them clean, but this does
not mean that they can be permitted to go for months at a time
128 HOW TO DRESS IN GOOD TASTE
without being washed. Each girl must find out for herself what
is best for her hair, remembering that cleanliness is important.
If she lives in the dusty, dirty atmosphere of a great city she
will have to shampoo her hair oftener than when she is in the
country. Long ago there was a tradition that it was harmful to
wash the hair more than once or twice a year. It is hard to
understand why people believed this when they washed their
faces every day in order to keep them clean. Is there any
reason why the scalp should not be clean?
Doctors are agreed that the treatments advertised by beauty
parlors have little or no value. Singeing the hair is useless,
scalp massages are sometimes harmful because they spread
bacteria. However, the scalp massage which you give yourself
and which increases the circulation of the blood is beneficial.
If your hair falls out badly, if the scalp is too oily or too dry,
or if you have dandruff it means that there is a diseased con-
dition of the scalp. Just as with any other disease a physician
should be consulted. It is foolish to try hair tonics or reme-
dies recommended by your friends which may do more harm
than good.
Brushes and combs should be as individual as the personal
towel and wash cloth, and should be kept clean by frequent
washings. If you treat your scalp and hair properly you will
be rewarded with attractive, well-kept looking hair that is a
great aid to your personal appearance.
Your Skin. — Generally the skin is thought of merely as
the covering to the body but it has another function that is most
important. The skin helps to eliminate wastes from the body.
Perspiration containing salts is thrown off by the sweat glands
and an oily substance is thrown off by the sebaceous glands.
Perspiration and oil collect on the surface of the skin and clog
the pores, making it necessary to bathe the body even when the
skin does not appear to be dirty. If any opening to a tiny gland
HANDS AND NAILS 129
in the skin is clogged with oil and dirt it may cause a pimple
to form. It is easy to see how important it is to keep the skin
clean. And since the skin is naturally oily it is easy to see why
soap is necessary for skin cleanliness.
Your Complexion. — Since the face is the part of the body
most exposed it requires most frequent cleansing. A good
complexion depends on a clean skin and the general good health
of the body. Skins differ in the same way that scalps differ,
in that some are dry and some are oily. Alkali soaps are very
irritating to dry skins and should be avoided. In the case of
very dry skins it is sometimes necessary to rub a little-good cold
cream into the skin after washing. Just as with your hair you
must find the treatment that is best for your individual case.
If you have any kind of skin trouble you will find it more
satisfactory and more economical to consult a physician than to
go to a beauty specialist.
Nature gives most girls good complexions and every girl
should be concerned with preserving her good complexion by
means of proper eating, plenty of exercising and careful habits
of cleansing her face. This is far better than trying to cover
up the defects in your complexion with powder and rouge.
When a girl is given a genuine article it seems ridiculous that
she should try to cover it up with an imitation. An imitation
complexion is obvious and easily detected.
Hands and Nails. — Perhaps there is no one thing that can
give one a better feeling of being well-groomed than to have
well cared for hands and nails. As with all other personal
hygiene, cleanliness is the first thing to be thought of. No
matter how carefully the hands are washed, the nails generally
require special attention. Ragged and dirty nails are unsightly
and make a good lodging place for germs and bacteria. One
way of keeping the nails short is by filing them with a nail file.
Another way is to soak the nails in warm water, trim them with
130 HOW TO DRESS IN GOOD TASTE
manicure scissors, and then file off the rough corners. The
cuticle around the nail should be kept pushed back with an
orange-wood stick. This is most easily done after the nails and
cuticle have been softened by soaking them in warm water.
Something to Do. — Appoint a committee to get more infor-
mation on how to care for the nails properly.
Teeth. — Have you ever seen a girl that seemed* to be well-
groomed in every way except that her teeth were not well cared
for? Teeth should be carefully brushed after each meal and at
night. They should also be frequently cleaned and examined
by a dentist. It is possible for you to lea,rn a great deal about
teeth and how to care for them in your hygiene and nutrition
classes. Remember that what you learn in these classes is
important to you not only from the standpoint of health but
from the standpoint of how to be well-dressed.
Something to Do. — Make a list of the things that you think
you should do in order to be well-groomed.
After reading this discussion of how to care for your hair,
teeth, skin and nails you must realize that cleanliness and health
are the key-note to beauty. Once upon a time it was popular to
use strong perfumes in order to kill body odors but now it is
thought far better to destroy the cause of the odor. In every
detail of personal care, health and cleanliness are very much
emphasized. It is only by this means that genuine attractive-
ness and good appearance can be secured. Manufacturers
of commercial products have been quick to take advantage of
this in that their advertisements for soap, tooth paste and such
articles emphasize the idea of cleanliness and health. Many
of the advertisements lay false claims to marvelous things that
their products can accomplish. Every girl must learn to judge
as to the merit and value of these products.
Extra Things to Read. — The girls who have time will find
it interesting to read the articles and chapters from certain
HOW TO BE WELL-DRESSED
131
books listed at the end of this chapter. They can make reports
on what they read which will be of benefit to the whole class.
FINAL CHECK-UP ON HOW TO BE WELL-DRESSED
PART I
You can prove that you understand what is meant by
" good line " in dress design by changing one line in each of
FIG. 76.
. .
the pictures in Fig. 76. Trace each picture, correcting the line
that you think should be changed.
PART II
If you understand good proportion in dress design you will
be able to improve upon each of the dresses shown in the
132
HOW TO DRESS IN GOOD TASTE
pictures in Fig. 77. Trace each picture, showing how you
would correct it. In some of the dresses there is more than
one thing to correct.
FIG. 77-
PART III
If you understand the color theory and color harmonies
described in this chapter you will be able to tell what is wrong
in each of the following.
1. A monochromatic color harmony might consist of the fol-
lowing: a brown coat; tan shoes and stockings; a brown
4 at with an orange ribbon; a light brown dress with a
ink tie.
2. A complementary color harmony might consist of the fol-
lowing: a navy blue dress; a brown coat; a dark green
hat; black patent leather slippers; tan stockings.
HOW TO BE WELL-DRESSED 133
3. An adjacent color harmony might consist of the following:
a pale cream yellow dress with yellow-green trimmings;
gold slippers; delicate green stockings; a string of green
jade beads; a delicate shell pink scarf.
4. A girl with a sallow complexion will find lavender becoming
because of the reflection of color.
5. A girl with a pale complexion will find rose color becoming
because of the contrast.
PART iy
1. List eight things which contribute to both health and
beauty.
2. Write a paragraph telling why personal hygiene is an aid to
beauty. Include in this paragraph observations that you
have made. State what habits you intend to form with
respect to personal hygiene.
LIST OF REFERENCES
Secrets of Distinctive Dress. Mary Brooks Picken. The Woman's
Institute of Domestic Art and Sciences, Inc., Scranton, Pa.
Principles of Clothing Selection. Helen Goodrich Buttrick. The
Macmillan Company, Chs. Ill, IV, V, VII, X.
Art in Everyday Life. Harriet and Vetta Goldstein. The Macmillan
Company, Chs. XII, XIII, XIV, XVI.
Costume Design and Home Furnishing. Estelle Peel Izor. Mentzer
Busch and Company.
Clothing for Women. Laura I. Baldt. J. B. Lippincott Company,
Chs. Ill, IV.
Dressmaking. Jane Fales. Charles Scribner's Sons.
" Proper Care of the Hair." Hygeia, April, 1925, p. 226.
" Care of the Hair." Hygeia, April, 1924, p. 215. Herman Goodman.
" Sanitary Manicure." 'Hygeia, March, 1925, p. 153.
" Lovelier Hair." Good Housekeeping Magazine, April, 1926, p. 113.
CHAPTER VII
FABRICS THAT WE USE EVERY DAY
EVERY day we use many different kinds of textile materials.
In the morning we use cotton or linen washcloths and towels,
we dress in knitted or muslin underwear, we put on dresses
that are made of cotton, linen, silk or wool, at breakfast we use
tablecloths and napkins, and if it is cold we put on heavy coats
or sweaters before going out-doors. If it is raining we carry an
umbrella that has a cotton, linen or silk covering, or perhaps
we wear a raincoat that is made of a material that is waterproof.
Make a list of the different textile materials that you have
already used to-day and you will be surprised at the number.
Each of these materials seems to be made differently. Your
Turkish towel is made with a rough surface, the napkin is
smooth, and your stockings are knitted instead of woven. Why
is it necessary to go to the trouble and expense of making these
materials differently? Each of these materials is made to suit
a certain purpose and it is interesting to study about how this
is done.
How to Know Good Quality in Material. — At the same
time we learn about how materials are made to suit their pur-
pose, we can also learn how to know good and poor qualities in
materials. When we are shopping and inspect the pieces of
materials displayed on the counters, we can pick out certain
pieces that seem to be of better quality than others. How is
it that we can do this? To some extent, the appearance and
feeling of fabrics enables us to do this. However, even the
experienced shopper may be deceived if she depends entirely
on the appearance and feeling of fabrics. Sometimes manufac-
turers deceive us by making poor, cheap material appear to be
of good quality.
134
HOW TO KNOW COTTON
135
The wise shopper has learned the kinds of fibers used for
making cloth, how cloth is made and how it is finished, so that
she can detect substitutions and imitations. When a clerk says
to us, " This material is of excellent quality," we should be able
to judge for ourselves.
What You Wear. — It will be a good plan for you to keep a
notebook while you study what fabrics you wear. You might
label your notebook cover " What I Wear." To have a good
notebook you must collect samples of the different kinds of
materials which you wear and put them into your book. You
will find directions in the following pages for planning your
notebook. For your next lesson bring as many samples as you
can collect. These should include samples of materials for
ties, hajr_£ibbens, stockings, dresses, coats, handkerchiefs, nap-
kins, towels and underwear.
HOW CAN YOU RECOGNIZE THE FIBER FROM WHICH THE
CLOTH IS MADE?
A Plan for Studying Your Materials. — It is a good plan
for three or four girls to put their samples together and work
with each other while they are studying about materials. Is
it not easy for you to see that all of these samples are not made
of the same fiber? Sort your samples into piles of cotton, wool,
silk and linen and while you are studying the following pages
examine them to see if you have
put them into their proper places.
How to Know Cotton. —
Let us first study the samples you
have that you think are made of
cotton. If some one should ask
you how you tell that these sam-
ples are made of cotton you might
reply as follows:
1. Cotton has certain charac-
teristics. It is generally described
as being soft in feeling and dull in
136 FABRICS THAT WE USE EVERY DAY
appearance. Examine your sample and try to think of other
words to describe the feel and appearance of cotton. Examine
the cotton fiber in a cotton boll and you will understand why
cotton cloth has a soft feeling and dull appearance. Although
the cotton fiber in its natural state is dull in appearance it is
sometimes treated with a finishing process, called merceriza-
tion, which gives the cotton a sheen somewhat like silk. Some
shiny fabrics, therefore, may be cotton. You will learn more
about this when you study finishing processes. Notice
that these cotton fibers are like little hairs growing out from
the seeds.
2. Another way to distinguish cotton is to unravel a piece
of yarn from some cloth. Then untwist the yarn until the
fibers are separated. The cotton fiber has a wavy appearance
and varies in length from about ^ inch to 2^ inches. The
FIG. 79. length of the cotton fiber helps
greatly to affect the appearance
and texture of cotton cloth.
The short fibers make a tiny
fuzz on the surface of the ma-
terial and a longer fiber makes
a smoother finish. Can you see
this tiny fuzz on any of your
samples of underwear or dress
materials?
3. A 'more definite way of
recognizing the cotton fiber is
to look at it under the micro-
scope. It looks like a twisted ribbon as shown in Fig. 79. It
is because of this twist that it is easy to spin cotton into yarn.
As you examine a piece of cotton material does it not seem
marvelous that it is made of these tiny, twisted fibers? If you
do not have any microscope in your classroom perhaps your
science teacher will show you the cotton fiber under the micro-
scope in the science laboratory.
HOW TO KNOW WOOL
137
FIG. 80.
How to Know Wool. — Examine all the samples which
you think are wool. Try to find out what are the special char-
acteristics of the wool fiber before you read the following
paragraphs.
1. Select a cotton and a wool sample from your collection
and lay jthem on the table in front of you. Shut your eyes and
pick up the samples. Feel of them and see if you can always
tell which is the wool by the springy, wiry feeling. Give other
words which describe the appearance and feel of a woolen
material.
2. Untwist a wool yarn just as you did the cotton yarn and
compare a wool fiber with a cotton fiber. The wool fiber is
like a crinkly, little hair. It may vary in length from one inch
to fifteen inches. How does this compare with the cotton
fiber? The length of the average wool fiber is about four
inches. About how long is the
fiber which you untwisted?
The length of the wool fiber
affects the smoothness of the
wool cloth. The longer the
fiber, the smoother and more
lustrous the surface of the
cloth will be. The shorter
fibers leave fuzzy ends raised
from the surface of the cloth.
3. Under the microscope
you can see that the wool fiber
is covered with tiny little
scales that overlap as the scales of a fish do. See Fig. 80.
These scales catch into each other and make it easy to spin the
wool fibers into yarn. It is because of these scales on the wool
fiber that it requires special care in laundering woolen mate-
rials. Changing from hot to cold water and rubbing the material
while washing causes the scales to interlock with each other
more firmly and to shrink. If you wash a pair of wool stock-
138
FABRICS THAT WE USE EVERY DAY
ings in very hot water, rinse them in cold water, and wring them
out hard, they may become very much shrunken, harsh and
matted because of the action of the scales on the wool fiber.
Have you any pieces in your collection of woolen samples that
have been shrunk by improper washing?
How to Know Silk. — It is easy to select the samples tha
are made of silk and it is easy to think of words that describe
its appearance and feel. Can you suggest the words that des-
cribe silk?
1. Untwist a silk thread and examine the fibers. Silk fibers
are straight and smooth. It is astonishing to learn that the silk
fiber is many hundred yards long. This means that the aver-
age silk fiber is longer than the silk thread that is wound on a
spool of sewing silk. These spools generally contain 50 or
100 yards.
It is interesting to know how the silk fiber is made. The
silkworm spins a cocoon just as a caterpillar does. However,
FIG. 8 1.
the silkworm spins his cocoon out of a substance which we call
silk. The first picture in Fig. 8 1 shows a silkworm feeding on
a mulberry leaf, the second picture shows a finished cocoon
and the third picture shows two cocoons, one with a hole where
the moth escaped. This means that the silk fibers have been
broken. Instead of being one continuous thread there will be
HOW TO KNOW ARTIFICIAL SILK 139
many short ones. These short fibers are called waste silk and
must be spun together just as the cotton fibers are spun. From
the other cocoon come the very long fibers mentioned before.
The moth was not allowed to escape from this cocoon but was
killed by putting the cocoon in steam or boiling water. The
long, unbroken fibers make a cloth with a more beautiful
texture because there are no fiber ends sticking up from the
surface of the material. If you find that little ends of fiber
show on the surface of any of FlG> 82>
your samples you will know
that they are probably made
from waste silk.
An Extra Problem. — The
life of the silkworm is an inter-
esting story. If any girl has
time to read about it she can
make a report to the class.
There is a list of references at
the end of this chapter which
will be helpful.
2. Under the microscope
the silk fiber looks like a smooth glass rod. Occasionally mark-
ings show that are caused by the coating of the silk fiber, called
gum or sericin which has not all been removed. See Fig. 82.
How to Know Artificial Silk. — You may find that some
of your silk samples are not made of real silk but of artificial
silk. You will be able to distinguish artificial silk by its very
brilliant luster. Silk is such a beautiful and valuable fiber that
manufacturers have made many attempts to find a cheaper
substitute, and as a result we have artificial silk. Artificial
silk is made by treating wood pulp or cotton waste with chemi-
cals until it becomes a pulpy mass. This pulpy mass is then
forced through tiny tubes. After the filaments have emerged
at the other end of these tubes they harden and become what we
know as artificial silk. It is cheaper to produce artificial silk
140
FABRICS THAT WE USE EVERY DAY
FIG. 83.
than real silk but the fiber is stiff and not as strong as genuine
silk. When subjected to moisture materials made from artifi-
cial silk become much weakened and great care must be taken
in laundering them.
Examine your samples to see if you have any pieces of
artificial silk. Ravel out a yarn and compare it with a yarn
made of real silk. What difference do you find in their appear-
ance and feeling? If you exam-
ine the artificial fiber under the
microscope you will find that it
looks like the drawing in Fig.
83. Artificial silk is sold under
various names, fiber silk, arti-
ficial silk, wood silk and rayon.
Your stockings, ribbons, your
brothers' ties and many dress
materials are often made of
fiber silk.
An Extra Problem.— The
girls who have time will find it
interesting to study newspaper advertisements and list the
articles which they find advertised as being made of artificial
silk. It may be found under any of the names listed above.
How to Know Linen. — The linen fiber, like cotton, comes
from a plant. However, it comes from a different part of th
plant, the stem itself. The first picture in Fig. 84 shows the
plant, called the flax plant, from which the linen fiber is taken.
The field of flax plants looks much like a grain field as shown
in the second picture.
Select the pieces from your collection of samples that you
think are linen. Perhaps you will have a piece of an old hand-
kerchief that is linen. Can you think of ways of describing the
appearance and feel of linen as being different from cotton?
1. The linen thread as it appears in linen cloth has a slight
HOW TO KNOW LINEN
141
irregularity caused by the unevenness of the linen fiber. Com-
pare a piece of cotton cloth with linen and notice how regular
and even the cotton is as compared with the linen. The linen
FIG. 84.
FIG. 85.
is stiff er and wrinkles more easily than cotton. Can you think
of words to describe the feeling of linen material?
2. Unravel a piece of linen yarn from a piece of linen cloth
and try breaking it. Compare the strength with the strength
of cotton. Untwist the yarn to get a linen fiber. The fiber is
long and straight as compared
with the cotton fiber. It has an
average length of twenty inches,
varying from ten to thirty
inches. Picture 3 in Fig. 84
shows some linen fibers ready
to be made into yarn. The
waste from the manufacture of
the linen fiber is called tow and
is spun into a cheaper quality
of linen yarn.
3. Under the microscope the
linen fiber looks like a jointed
bamboo rod. These joints are called nodes and the ends of
the fibers are pointed. See Fig. 85.
142 FABRICS THAT WE USE EVERY DAY
Some Pages in Your Notebook. — Plan a page in your note-
book for each of the five fibers that you have studied. Mount
samples of cloth, yarns and fibers of each kind. Make a draw-
ing of the way the fiber looks under the microscope and add
notes about each fiber according to the following suggestions.
1. Where does it come from?
2. Wrhat particular characteristic of each fiber helps to spin
it into yarn or thread?
3. How does the length of fiber generally affect the quality
and texture of the finished cloth?
4. What did you learn about each fiber in your study of
underwear material as to warmth?
5. What did you learn about each fiber in your study of
underwear material as to absorption of moisture?
6. How does the structure of each fiber affect its launder-
ing quality?
You may have learned things about these fibers in your
study of geography or science that you can add to these pages.
Your notebook pages should be neat and well arranged.
The same principles of design apply to the arrangement of a
page in a notebook as to the arrangement of a room or the
design of a dress. Ask your neighbors to criticize your pages
for arrangement and neatness. Do not forget that criticism
means favorable as well as unfavorable comments.
Suggestions for Reports on Special Topics. — You will find
it interesting to make a study of how each of these fibers is
produced. Five girls might each choose one of the five fibers
on which she will report. Each girl should try to bring as
much illustrative material as possible when she makes her
report in order to make her talk interesting. It is often possible
to obtain good illustrative material free by writing to manu-
facturers. There is a helpful list of references at the^end of
the chapter.
KNITTED MATERIALS
HOW CLOTH IS MADE: WOVEN AND KNITTED
143
FIG. 86.
The Plan for Studying Your Samples. — You have
learned that one way in which materials differ depends on the
fiber from which cloth is made. A second way in which materials
differ is according to the manner of con-
struction. Cloth may be made by weaving
it on a loom or by knitting it. Your sam-
ples have been sorted according to the fibers
from which the materials were made. Put
all your samples together again and begin
resorting them according to the way the
cloth is made. Some of them will be knitted
and some woven. Among those that are
woven you will find four or five differ-
ent kinds of weaves. You will notice that
the same weave may be used for silk, linen, wool or cotton.
Knitted Materials. — The girls that lived in the Middle
Ages did not have the kind of stockings or underwear to wear
that you have. Their stockings were made of woven cloth
like their dresses and underwear. Soon after this period of
history some one discovered how to make knitted stockings
which have been worn ever since. Would it not seem queer
to make your stockings from cloth as you did your kimono or
nightgown? The picture in Fig. 86
shows a piece of knitting in which
one thread has been broken. Can
you see what will happen if the
broken ends begin to slip. This is
what happens when you break a
thread in your stocking. The broken
threads slip through the first loop,
then each loop slips through the next loop, making what we call
a " run " in the stocking. If a thread in a woven piece of cloth
breaks as shown in Fig. 87 no " run " occurs because there are
10
FIG. 87.
144 FABRICS THAT WE USE EVERY DAY
no loops to slip through each other. In the woven cloth there
are two sets of threads which cross each other. The knitted
cloth is made from one thread by continually catching one loop
through another. Examine a stocking or a piece of knitted
material under a magnifying glass and you will see this clearly.
If you have watched some one knitting you have seen the thread
pulled through the loop by the point of the needle. All the
stockings you wear are made by machine but the process of
pulling the thread through a loop is exactly the same as when
done by hand. Generally it takes two or three days to knit
a pair of socks by hand while one person can produce many
hundred pairs of socks in one day on the knitting machine.
There are two ways you can always recognize knitted mate-
rial. First, you can always see the loops and second you can
tell by stretching the material. Knitted fabric is elastic and
will draw back into shape after being stretched. Since knitted
fabric is elastic it will fit the body more closely and smoothly
than the woven material. Can you see why our stockings and
some of our underwear are knitted rather than woven? Do you
have any samples of other knitted materials? Do you know
the names of any dress materials that are knitted?
— iThe Plain Weave. — Probably your pile of samples made
wi/i the plain weave will be your largest group because the
plain weave is used more than any other weave. See Fig. 87.
Among these samples you will be able to find cotton underwear
materials, muslin and longcloth, linen handkerchiefs and linen
dress material, wool flannel and silk ribbons. Why is it that the
plain weave is always used for handkerchiefs and for under-
wear material ?
Sometimes the plain weave is purposely woven so that there
are open spaces between the threads. Voile is a material that
is woven in this way. What other materials do you have sam-
ples of that are woven openly?
You will find a modification of the plain weave in your
samples of dimity and poplin. How does the effect in these
%*
THE PILE WEAVE 145
materials differ from that in the ordinary plain weave? Can
you see how the ribs are produced in the weaving?
The Twill Weave.U-Many of your samples will be made
with the twill weave, see Fig. 45, as it is more used than any of
the weaves with the exception of the plain weave. You will
probably have samples of serge, Poiret twill, gabardine, galatea,
denim and khaki. Compare these samples with your samples
of underwear materials made from the plain weave and decide
why the twill weave is not satisfactory for underwear material.
W7hy would the twill weave not be suitable for a handkerchief
or towel or sheet? You will notice that the twill weave is
always used in materials where hard wear and durability are
desirable. Does the twill weave or the plain weave have more
feeling of hardness and stiffness? List the different kinds of
materials made from the twill weave.
The Satin Weave.-kSmong your samples of materials
made from the satin weave you will find pieces of satin ribbon
and sateen. See Fig. 45. These materials have their smooth
and lustrous effect because of the weave. This is true because
the long threads on the top of the cloth give a surface unbroken
by the crossing of threads. Examine the right and wrong sides
of a piece of satin to see how the texture differs. When the
floats of thread are too long the satin will not wear well because
the long floats are likely to catch and break. Firmly woven
satin is not only more durable than a thin, sleazy weave but is
more beautiful in appearance. This weave is not considered as
durable as the twill or plain weave. Why?
The Pile Weave. — tour samples of Turkish toweling and
velvet are examples of the pile weave. If you have studied
about rugs you will remember how the pile weave is made. The
pile in velvet stands up like the bristles in a hair brush. Can
you think of anything else to compare with the pile weave?
Compare the pile in the Turkish toweling and in the velvet to
see how they differ. Why do you think the pile weave instead
of the satin weave is used in the Turkish towel? Why would
146 FABRICS THAT WE USE EVERY DAY
the satin weave not be suitable for rugs? Can you think of
words to describe the appearance and feeling of velvet? Have
you any samples of coat materials that are made with the
pile weave? l/^
Pattern Weaving. — Some of your samples of napkins,
toweling and ribbons may be made with patterns that are
woven into the material. If you examine these samples closely
you may find that parts of the pattern are made with the plain
weave and other parts with the satin weave. Pattern weaving
is a very complicated process, done on a special kind of loom
called the Jacquard loom. What materials can you think of
that are used for curtains or for upholstering furniture that are
made with the pattern weave? How can you tell when the
pattern is woven and when it is printed on the material?
More Pages for Your Notebook. — Select samples of each of
the weaves discussed above and mount them in your notebook.
List as many materials as you know that are made with each of
these weaves. Write a brief paragraph about each weave tell-
ing why it is suitable for certain purposes.
Crossword Puzzles from Names of Fabrics. — Now that you
have learned the names of many kinds of textile fabrics you
may be interested in making up a crossword puzzle like the one
on page 106. Each girl might try making one and see if the
other girls in the class can work it.
HOW CLOTH IS MADE WHITE OR COLORED
We have already learned that materials differ from each
other, first, because of the fiber from which they are made and
second, because of the weave by which they are constructed.
A third way in which materials differ is according to their color
or pattern. Some materials are white, some materials are dyed
a solid color, some materials have a pattern woven into the
cloth, while in others the pattern is printed on the cloth. It
will be easy for you to sort your samples into these four groups.
•'"'
COLORED PATTERNS 147
How Materials Are Made White. — Have you ever seen
tablecloths or towels spread out on the lawn to bleach in the
sun? Sometimes housewives buy tablecloths, towels or sheets
that are unbleached. Long ago it was the custom to bleach
cotton and linen materials by spreading them out on the lawn
for the sun to whiten. At the present time most bleaching is
done by using chemicals. It takes many weeks to bleach mate-
rials in the sun but it can be done by chemicals within a few
hours. In this process of bleaching by means of chemicals there
is danger of the fabrics being injured by over-bleaching. This
causes holes to appear in the materials after they have been
used only a few times. Examine your samples to see if you
can find some that are bleached and some that are unbleached.
How Materials Are Colored by Dyeing. — Sometimes
cloth is " piece dyed " which means that it is dyed after the
cloth is woven. Dyeing is also done before the cloth is woven
and in this case it is spoken of as " yarn dyed." When mate-
rial is " piece dyed " it must of necessity be all of one color but
when the yarns are dyed before they are woven it is possible
to weave different colored yarns together in order to produce
patterns. The stripes and checks in ginghams are produced
in this way. Chambray is a material that is always made with
colored warp threads and white filling threads. Is this piece
dyed or yarn dyed? Changeable colored silks are always made
by combining two colors, one in the warp and one in the filling
thread. Which of your four piles of samples was produced by
piece dyeing? Which group of samples was produced by
yarn dyeing?
Printing Fabrics to Obtain Colored Patterns. — Patterns
are not only produced in materials by means of weaving but by
a process of printing. Materials may be printed in much the
same way as the daily newspaper is printed. The cloth is run
between the copper rollers of a printing press on which the pat-
tern is engraved. The pattern is printed on the cloth as it
148 FABRICS THAT WE USE EVERY DAY
passes between the rollers. Have you ever stamped a pattern
on a piece of cloth or a paper from a woodblock? This was
the first method by which patterns were printed onto cloth.
Printing cloth by means of the roller press makes it possible
to do it very much more rapidly. Sometimes the pattern is
printed on the yarns before they are woven. If you have studied
about rugs you will remember this is done in the case of tapes-
try Brussels and velvet rugs.
In your group of samples of printed materials you will
probably find percale, calico, printed silks, cretonne and challie.
In Your Notebook. — Mount samples of each of the follow-
ing kinds of material in your notebook: unbleached material,
bleached material, plain colored material, a material with a
woven pattern, and a material with a printed pattern. Make a
label explaining each of the samples.
A Four-minute Test. — 1. Write as many names of mate-
rials made with printed patterns as you can in four
minutes.
2 . Write as many names of materials made with woven pat-
terns as you can in four minutes.
Trade your paper with another girl and check her list of
materials. Give five for each correct answer. ^ -^
HOW MATERIALS DIFFER BECAUSE^OFFINISH
When you examine your cotton samples you can see that
even if they should all be of the same color and made with the
same weave, they still may differ in appearance. Some of them
may be fuzzy in texture, others may be silky, others may be
stiff and some may be soft. These different effects may
be produced by the different ways in which cloth is finished.
In the following paragraphs you will learn something about the
different ways in which cotton cloth is finished.
\Sizing Cotton Cloth. — This is a process of adding stiffen-
ing to the cloth just the same as starching clothing after it has
'
MERCERIZING COTTON 149
been washed. A little sizing helps the general appearance of the
material. Some materials such as percale and organdy are
purposely stiffened with sizing so as to have a crisp effect. Other
materials such as nainsook are finished so as to have a soft
effect. When a great deal of sizing is used to fill up the spaces
in a loosely woven material in order to give weight and firmness
to the fabric, it is not a good finish. You should be able to
detect this because as soon as the material is laundered the siz-
ing washes out, leaving a thin, sleazy material.
Something to Do. — Test some of your cotton samples
for sizing by rubbing and scraping with a finger-nail. Wash
one-half of each sample and after it is dry compare with
the unwashed part to see if any sizing washed out.
Calendering Cotton Cloth. — Calendering the cotton cloth
is like ironing starched cotton garments after they have been
washed. It is for the purpose of making the cloth smooth and
glossy and is done by passing the cloth between heavy, hot
rollers. Cotton garments such as collars and cuffs that are
heavily starched and ironed with a hot iron are very smooth
and glossy. So it is with cotton cloth that has been heavily
sized and passed through very hot and heavy rollers. Have
you any samples that show the effect of being calendered? If
your samples have been laundered they may not show this
effect of calendering because it disappears when cloth is
laundered.
Mercerizing Cotton. — Do some of your cotton samples
look silky and lustrous? This effect is produced by putting the
yarn or fabric through a bath of strong caustic alkali while
the yarn or cloth is kept tightly stretched. This changes the
appearance of the cotton from a dull effect to a lustrous, silky
appearance. At the same time it increases the strength of the
cotton and makes it absorb dye more easily. This extra proc-
ess of mercerization makes a fabric cost about three times as
much as an ordinary cotton material. It also improves the
150
FABRICS THAT WE USE EVERY DAY
FIG.
appearance and wearing quality of the material in every way.
Materials that are well mercerized do not lose their silky effect
when laundered. Poplins, ginghams, English broadcloth and
chambrays are often mercerized.
Something to Do. — Sort out the samples of mercerized cot-
ton which you have. Untwist a mercerized cotton yarn and
examine a fiber under the microscope. The picture in Fig. 88
shows how the fiber will look.
How does it differ from the
cotton fiber before it is
mercerized?
(J>ingeing Cotton Cloth.—
Cotton cloth generally has a
tiny fuzz on the surface caused
by the ends of the fiber. Some-
times this fuzz is singed off by
passing the cloth quickly over
gas flames. This makes a
smooth surface. Cotton-lisle
thread is generally made by
using long-fibered cotton tightly spun and finished with calen-
dering and singeing. Cotton-lisle stockings and cotton-lisle
underwear are made in this way. Underwear made from lisle
thread is especially light-weight and cool. Try to find two
samples of cotton material, one that shows the tiny fuzz and
another that has been singed.
Crepe Effects.— -Everyone knows that crepe materials are
e with a crinkly surface. Among your samples you will
prorflfcly find cotton crepe underwear material and crepe
kimono material. You may also have seen the kind of bed-
spread made with a crepe effect that is called riplette. There
are different ways of producing crepe effects in materials. Some-
times the crepe effect is produced in the weaving by holding cer-
tain sets of warp yarns tight and others loose while the weaving
i
MATERIALS ARE AFFECTED BY FINISHES 151
is being done. Another way of producing a crepe effect is by
printing stripes of caustic soda on a material. The parts which
are printed shrink, causing the other parts to crinkle up, thus
producing the crepe effect. Still another crepe effect is pro-
duced by weaving the cloth out of yarns with different twists.
Napping. — Have you wondered how the soft, fuzzy surface
s made on such materials as cotton flannel and flannelette? It
is done by scratching the surface of the cloth with tiny hooks,
so that the ends of the fibers are raised from the cloth. The
cloth is passed between rollers which are covered with these
tiny teeth or hooks. Sometimes napping is called teazeling,
because, instead of using wire hooks, a kind of prickly burr
called a teazel is used to scratch the surface of the cloth. Do
you know if the teazel grows near where you live? After the
fibers have been raised they are sheared off to make them even
and then the material is steamed and pressed. The shearing
machine cuts the nap as a lawn-mower cuts the grass.
For Your Notebook. — Find samples which illustrate each of
these six finishing processes and mount them in your notebook.
A Topic for a Special Report. — There are many other
things to learn about how cotton cloth is finished. Any girl who
has time can make an interesting report to the class on this
topic. There is a list of references at the end of this chapter
which will be helpful.
How Wool Materials Are Affected by Finishes. — Some
of the same finishes that are used for cotton are also used in
finishing woolen materials. It is easy to pick out the wool
materials, such as heavy coatings, blankets and sweaters that
are finished by napping. Perhaps you will find a wool sample
of material that is finished with a crepe effect.
When we speak of the finishes on materials made from wool
it is necessary to distinguish between worsteds and woolens.
Worsted yarns are made by combing long wool fibers so that
152
FABRICS THAT WE USE EVERY DAY
FIG. 89.
they lay parallel, as shown in Picture 1 of Fig. 89. In woolen
yarns the fibers are criss-crossed back and forth, as in Picture 2.
The difference in texture and appearance of fabrics made from
these two yarns is at once
apparent. The long,
smooth fibers in the wors-
ted yarn give a smooth,
lustrous surface, such as is
found in serge, gabardine
and tricotine. These ma-
terials naturally require
very little finishing after
they have been woven.
The surface of a material
made from a woolen yarn
is rough and requires more
finishing after weaving.
Felting or Fulling. —
This is a method used in finishing wool cloth. After weaving,
the cloth is put into hot, soapy water and then run between
FIG. 90.
heavy rollers. This causes the material to shrink, just as
wool stockings shrink when improperly laundered. This
makes the material closer and firmer, sometimes shrinking
HOW SILK MATERIALS ARE FINISHED 153
it to one-half its original width and length. Do you remember
what causes the wool fiber to shrink? If you have forgotten,
you can find the answer to this question on page 137. The dif-
ference in wool cloth before and after felting is shown in Fig. 90.
Do you know how your felt hat is made? You can see by
examining it that it was not made by a weaving process. The
fibers are firmly matted together. How do you think it is pos-
sible to make a piece of material without weaving the threads
together? Why is it possible for hair or wool fibers to become
so interlocked as to form a fabric without weaving?
For Your Notebook. — Mount samples of wool materials in
your notebook to show (1) worsted material, (2) woolen ma-
terial, (3) napped material. Add paragraphs describing other
finishing processes used for wool materials.
How Linen Is Finished. — Linen is a material that requires
comparatively little finishing. However, its luster and beauty
are increased by beetling. This process consists of pounding
the cloth until the fibers are flattened. This effect on the linen
does not disappear after laundering.
The natural color of linen is gray or brown, and since we use
so many white towels, tablecloths and napkins, the bleaching
of linen is a particularly important finishing process. The
cheaper grades of linen are sized and calendered as cotton ma-
terials are. Too much sizing can be detected in the same way
as in cotton.
How Silk Materials Are Finished. — You will find by ex-
amining your samples that some of the same finishes are used
with silk that are given other materials. For example, crepe de
chine is finished with a crepe effect. Silk materials are passed
over gas flames to burn off the ends of the fibers and are sized
with starch or glue to stiffen them. Cheap grades of silk are
heavily sized to make them appear of better quality than
they are.
Another way of making silks seem heavier and firmer is by
means of weighting. This consists of dipping the silk into a
154 FABRICS THAT WE USE EVERY DAY
solution containing salts of tin and other substances. These
metals or substances have, of course, been dissolved in a fluid.
When the silk is taken out it is much heavier than when it was
put in. Sometimes it is three or four times as heavy. This
weighting is usually done when the silk is being dyed. It is
considered legitimate to weight silk a certain amount, and if
properly done it does not impair the fabric for ordinary wear.
If the silk has been too heavily weighted, however, the silk will
not wear well. Slits and broken places soon appear in the cloth.
This will happen even if the garment is hanging in the closet.
Your Notebook. — Plan two pages in your notebook for silk
and linen finishes. You might mount samples of bleached and
unbleached linen and silk crepe. Add paragraphs describing
other finishing processes used for silk and linen.
Standard Materials. — There are certain standard textile
materials that we should be able to identify. These materials
are commonly used for clothing and household furnishings. We
call these standard materials because it is always possible to
buy the same materials under the same names. Many other
materials are made slightly different and given new names with
each season. It is more important for us to first learn to recog-
nize the standard materials. You should be able to recognize
at least twenty cotton materials used in clothing and household
furnishings, ten woolen materials, ten silk materials and ten
linen materials. Have a class discussion and decide what stand-
ard materials you should know.
How Many Materials Can You Recognize? — Arrange a class
contest in the recognition of materials. Make your own plans
and rules for this contest. T — ^ ^x'f*'"^' ^r^M k )^
SOME WAYS TO JUDGK QUATtTY IN MATERIAL '
We have learned about the fibers from which cloth is made,
how it is woven, how it is colored and how it is finished. W7hat
yve have learned about these things should help us to judge
quality in any cotton material. For example, if you are buying
COTTON DRESS MATERIALS
155
gingham for a new dress which you are planning to make you
would wish to buy as good a piece of material as possible. It
would not be worth while to make a dress that will wear out or
fade in a short time.
What We Have Learned That Helps Us to Judge Qual-
ity in Cotton Dress Materials. — 1. Is the weave
even and firm? Are the threads close enough so that
the material is not sleazy? Is the material coarse or
is it fine and smooth? You learned three tests for
judging quality of weave when you selected material
>r your kimono. (See page 38.)
Is the finish smooth and fine, or is it stiff and pasty?
'Will the sizing wash out, leaving the material thin and
flimsy? Some materials are mercerized, and some
may be highly calendered so as to imitate mercerized
materials. This calendered finish disappears after
laundering. One can sometimes tell by washing
a sample whether the material was made with a
good finish.
3. One of the things that may ruin a cotton dress is the
fading of the color. Sometimes the color fades the
first time a dress is washed, or it may even fade in the
sunlight before the dress is washed.
Long ago it was always the custom to " set the color " in the
material for a new dress so that it would not fade. Many people
still continue to attempt to set the color in new materials. As
a matter of fact, it is only by chance that they are successful in
this attempt, because there are so many different kinds of dyes
used by the manufacturer that one can never tell what should
be done in order to set the color. For example, dyes may be
acid dyes, basic dyes, direct dyes, sulphur dyes, or vat dyes, and
it is impossible to tell what has been used in the material
you buy.
A more practical thing than to try to " set the color " in new
156 FABRICS THAT WE USE EVERY DAY
material is to test a sample of the material before you buy it.
One test which you know is washing to see if the material will
stand laundering. (See page 39.) Another test that should
be made is to find out whether the color will fade from exposure
to light. Expose one-half of the sample to sunlight for a week
or more and then compare it with the original color.
For Your Notebook. — 1. Write a brief statement telling
what you will do when you select material for a ging-
ham dress.
2. Write a brief statement explaining how you will judge
the material of a ready-made dress.
How to Judge Quality in Dress Linen. — 1. What we
have learned about judging the quality of weave, finish
and fastness of color in cotton materials also applies
to dress linen.
2. Since cotton is a cheaper fiber to produce and manufac-
ture than linen, it is often used to imitate linen. It is
sized, calendered and beetled so that it has the appear-
ance of a linen material. This effect, however, is de-
stroyed by laundering. Sometimes the cotton yarn is
spun with an irregular knotted effect so as to more
closely resemble the linen yarn. Linene and linon are
two cotton materials made to imitate linen. These
names and the appearance of these fabrics often de-
ceive people into thinking they are buying real linen.
Mercerized cotton is often used to imitate linen, espe-
cially in tablecloths and napkins. Sometimes when
people think they are getting a bargain in a linen table-
cloth, they are really buying a tablecloth that is partly
mercerized cotton or perhaps all mercerized cotton.
Since linen is so expensive at the present time, mercer-
ized cotton sometimes makes a satisfactory substitute.
However, we should not pay for high-priced linen when
we are really buying mercerized cotton.
WOOL DRESS OR COAT 157
Because it is possible to imitate linen so thoroughly by .using
cotton, it is difficult to determine whether a fabric is linen or
cotton. There is only one sure way to distinguish between linen
and cotton, and that is by use of the microscope. What have
you learned that would tell you whether a fabric was linen or
cotton if you were using a microscope?
Few people have microscopes to use, so it is helpful to know
a few other tests that help to distinguish linen from cotton.
One way to tell is by the breaking test. Linen is much stronger
than cotton and is more difficult to break. Another way used
to test linen and cotton is by the spotting test. First, wash the
sample to remove the dressing, then after the sample is dry,
drop ink or water on the sample. Linen absorbs water very
rapidly and if the sample is all linen, the moisture will spread
quickly into a round spot. If the sample is cotton, the moisture
spreads slowly and unevenly.
In Your Notebook. — Make a list of things you could do
if you were trying to determine whether a material is linen
or cotton.
Buying Material for a Wool Dress or Coat. — Because
cotton is cheaper than wool, cotton mixed with wool is some-
times sold as all wool. Sometimes the cotton is mixed with
the wool before the threads are spun, so the threads of the
cloth may be partly cotton and partly wool. Or the cotton may
be mixed with the wool in the weaving. Very often the warp
threads are cotton and the filling threads are wool. Unless
we are sure we can rely on the merchant we should test a
sample of the material before buying. There are a few simple
tests which you might try on your samples to see if you can
determine whether they are wool or cotton.
1. You have already learned the characteristic feel and
appearance of each fiber. This helps to some extent
in distinguishing between wool and cotton. When wool
and cotton are mixed in the same material this test is
not reliable.
158 FABRICS THAT WE USE EVERY DAY
2. Ravel some warp and filling threads from the sample.
Try breaking these. Pure wool threads break easily
and cotton is more difficult to break.
3. Burn a small piece of the sample. Cotton burns very
quickly with a flame like paper. Wool burns slowly,
charring as it burns. It smells like burning hair or
feathers. However, a small amount of wool gives this
odor, and it is impossible to tell whether it is all wool
or part wool.
4. Boil a piece of the sample for five minutes in a solution
of household lye. To make the solution put two tea-
spoonfuls of the household lye in a pint of water. All
the wool will be destroyed and the cotton left.
Instead of using cotton as a substitute for wool, the manu-
facturer sometimes uses wool a second time. This is generally
called re-manufactured wool or re-worked wool. Old woolen
garments and tailors' scraps are torn up and the wool fibers used
again to make another piece of material. If the wool rags from
which the re-manufactured wool is made are new and of good
quality, the material will also be of good quality. However, if
the rags are old and worn, the material will not be of good qual-
ity, because the fibers are short and broken. Under the micro-
scope they often show that the scales have been destroyed. So
even though a material is " pure wool," it may be of poor qual-
ity. When we find a great bargain in woolen material we should
be sure that it is not made of poor quality re-manufactured wool.
Since there is no sure way to detect the presence of re-manufac-
tured wool, it is best to buy from reliable merchants. Sometimes
the price of the material is an indication that it is made from
good quality wool.
For Your Notebook. — 1. Test some samples of woolen ma-
terials according to the four tests described above.
2. Describe the results and mount the samples if possible.
RIBBONS, STOCKINGS AND DRESSES 159
A Story to Write. — Tell the story of the life of a wool fiber.
Start with the day when it was cut from the back of the sheep
and tell how it was made into cloth, used for some garment and
re-manufactured into more cloth.
How We Can Judge the Quality of Silk in Ribbons,
Stockings and Dresses. — 1. We can judge the qual-
ity of a piece of silk to some extent by the firmness of
its weave in the same way that we judge the quality of
weave in a piece of gingham.
2 . You have learned that some materials are made from long,
unbroken fibers and other materials are made from the
short fibers called waste silk. How can you judge this
quality of silk fibers? See page 139 if you have for-
gotten.
3. You will remember that in the finishing process silks are
often weighted to make them seem heavier and firmer.
A way of testing silks for weighting is to burn the
sample. It is amazing to see what happens when a
piece of heavily weighted silk is burned. The cloth
retains its texture and shape, even though it has been
burned. This means, of course, that the silk fibers
have been burned out and the metal weighting has been
left. If the sample should be all silk it burns down to
a little ball.
4. Again we find that cotton is used to imitate another fiber.
Cotton is much cheaper than silk, and, since mercerized
cotton has a silky appearance, it is often used to imi-
tate silk. What we suppose to be silk sweaters and
stockings are often made of mercerized cotton. Some
pongee materials are also made from mercerized cot-
ton. An excellent way to distinguish silk pongee from
cotton pongee is by the burning test. Silk burns slowly
and chars like wool. Do you remember how cotton
burns ?
11
160 FABRICS THAT WE USE EVERY DAY
5. Burning can also be used to determine the presence of
artificial silk. Since artificial silk is generally made of
cotton waste or wood pulp how would you expect it to
burn? It is hardly necessary to burn artificial silk to
detect its presence. Its high luster and stiff, coarse
fiber are very obvious.
For Your Notebook. — Mount samples of your hair ribbons
and ties with a written description of what happened to each
sample when it was burned.
Adulteration in Materials. — You have already learned
how one textile fiber may be made to imitate another. For ex-
ample, mercerized cotton and artificial silk may be sold for real
silk, or cotton may be made to look like linen. Cotton and wool
may be mixed and sold for pure wool. All these things and
many others which we have not yet studied are spoken of as
adulteration in textiles. Formerly, the same kind of adultera-
tion was common in foods. This became such a serious matter
that laws were passed which make it an offence against the law
to mislabel foodstuffs. At the present time there is an attempt
to pass similar laws for the labeling of textiles. If such a thing
should come to pass one could be more certain of the quality of
the material one buys. Even now there are certain guaranteed
textile products on the market which can be relied upon.
1. Can you name any guaranteed garments or materials
that are sold in the stores in your town?
2. Write a paragraph for your notebook telling what you
consider is your duty as a good citizen in regard to
adulteration of materials.
Suggestions for Individual Reports. — 1. Your report should
be presented to your class, and it should be your aim
to tell them some interesting facts in a clear and defi-
nite way. It will make your report more interesting if
you have pictures, diagrams, charts, drawings on the
blackboard or actual materials to illustrate your talk.
HOW STOCKINGS ARE MADE
161
Decide how long the report shall be. Plan your own
report so as not to take more than your share of time.
Elect a chairman who will be in charge of the program
on the day when the reports are given.
The list of references at the end of this chapter will help
you in working up your report.
Choose one of the topics listed below for your report or
perhaps you can think of some other topic.
How broadcloth is made.
How the felt in a school banner is made.
Old and new methods of bleaching linen.
Effect of weighting silk.
Invention of the stocking frame.
How knitted underwear is made.
Spun silk and how it is used.
Other fibers used for textiles.
Legislation to control adulteration in textil
How gloves are made.
SHOES AND STO
>efore we have made a complete study of the fabrics that
we wear and use every day we must make a study of shoes and
stockings and how they are made. To know how they are made
will help us to purchase them more wisely. We will know what
the saleswoman means when she says, " These hose are full-
fashioned," or what the shoe salesman means when he says,
" These shoes are made with turned soles." We will know bet-
ter how to understand newspaper advertisements and how to
judge when an advertised bargain is a real bargain.
How Stockings Are Made. — A well-made stocking is
made to fit the leg and foot. It must be larger in the upper part
of the leg and fit snugly around the ankle. Have you ever had
a stocking that was too full around the ankle and persisted in
wrinkling? This means that it was not well made. The fit of a
stocking depends to some extent on the way in which it is made.
162 FABRICS THAT WE USE EVERY DAY
Three ways in which stockings are made are described in the
following paragraphs.
Cut Goods. — These stockings are knitted in a long, tubular
piece that is the same size from top to bottom. Then the mate-
rial is cut to fit the leg and sewed in a seam. The heel and toe
are added and in some cases a ribbed top. This is the cheapest
type of stocking and is objectionable to .many people because of
the very heavy seam.
Seamless Hose. — This type of stocking is made with no seam
running down the back of the leg. Some of the seamless stock-
ings are shaped somewhat in the knitting, so that the ankle is
smaller than the upper part of the leg. In others the stocking is
the same size all the way from top to bottom and this often
causes the stocking to wrinkle around the ankle.
Full-fashioned Hose. — The full-fashioned hose are knitted
in a flat piece and made narrower at the ankle by dropping
stitches. The flat knitted piece is then made into a stocking
with a seam down the back of the leg. By examining a pair of
full-fashioned hose you can see the narrowing marks each side
of the seam where the stitches were dropped. Sometimes the
narrowing marks and seam are imitated in cheap stockings.
When these stockings are washed they may stretch and fit badly
around the ankle. The foot of the stocking is knitted at the
same time as the leg, so that the whole stocking is made in
one piece. These are the best fitting and most expensive hose.
An Investigation. — 1. Appoint a committee to find out and
report to the class on the prices of each of these kinds
of stockings.
2. Appoint a committee to find out the names of some of the
well-known brands of stockings.
3. Appoint a committee to find out what other kinds of
clothing are made by knitting and how it is done. Ref-
erences listed at the end of this chapter will help you.
How Shoes Are Made. — Many different kinds of material
are used in the making of shoes. Those most commonly used
HOW SHOES ARE MADE 163
are calfskin, kid, patent leather and canvas. Each of these
materials has particular characteristics that make it suitable for
a certain type of shoe. Calfskin^ is a heavy, durable kind of
leather which makes a serviceable shoe. Kio^is a thin, soft
leather which makes a comfortable, light-weight shoe. It is not
suitable for an everyday shoe because it is easily scuffed and
does not keep its shape well. Patent leather is made by apply-
ing a preparation to the surface of kid which makes it shiny.
In buying patent leather shoes one should be careful to insist
upon having genuine patent leather. An imitation of patent
leather is made by putting a patent leather preparation over a
cloth foundation. This, of course, does not wear as well as real
leather. The shiny surface soon cracks and scales off, showing
the cloth underneath. Canvas is a material used for tennis
shoes and white sport shoes for summer. These are cool and
comfortable for summer wear, being much more easily cleaned
than white kid or buckskin shoes.
Some shoes are made wrong side out and then turned right
side out after being sewed. It seems impossible that a shoe can
be turned inside out, but some of our fine, light-weight shoes are
made in this way. These are called turned sole shoes and are
always soft and pliable.
A good quality of shoe made by another method is called
the Goodyear Welt. This shoe is not turned inside out in the
process of making. It is made with an extra strip of leather
sewed around the edge of the sole to give it additional strength.
The stitching can be seen around the edge of the sole. There is
also a stitching inside the shoe which holds the insole to the welt
and outersole.
Another shoe of less durable quality is called a McKay
shoe. This has no extra strip of leather or stitching around the
edge of the sole. The shoe is held together by stitching and
tacks inside the shoe. These can be seen when the lining is
pulled up.
164 FABRICS THAT WE USE EVERY DAY
A fourth method of making shoes is by tacking and screw-
ing the sole to the uppers without the use of any stitching. This
is generally used for very heavy shoes for outdoor wear.
Suggestions for Study. — 1. Make a list of other materials
used for shoes.
2. Discuss the appropriate use of each of these materials.
3. Compare prices of shoes made from different kinds of
materials.
4. Examine the shoes that the girls in the class are wearing
to see if you can tell by what method they were made.
5. Compare prices of turned sole shoes, Goodyear Welt
shoes, McKay shoes and standard screwed shoes.
WHAT HAVE YOU LEARNED ABOUT TEXTILES?
If you can answer these questions you will be sure that you
have learned what has been told about textiles.
PART I
1. What finishing process is necessary in order to give a per-
manent lustrous texture to: 1. cotton?
2. linen?
2. What finishing process is necessary to secure the smooth-
ness of lisle thread?
3. What finishing process is necessary to secure the soft,
wooly texture of blankets?
4. What adjective describes the appearance of heavily cal-
endered material?
5. What is wrong in the finishing process if underwear material
has a pasty, stiff appearance?
6. What finishing process for silk may greatly affect the wear-
ing quality?
7. What finishing process, if improperly done, may weakeh
linen fabrics?
8. What finish strengthens the cotton fiber?
WHAT HAVE YOU LEARNED? 165
PART II
a What word tells how satin is given its lustrous texture:
calendering, weave, weighting, fulling, napping?
2. Which words tell what things affect the durability of satin:
length of fiber, bleaching, sizing, length oiJloat, felting?
3. Which word tells what produces the texture of velvet: pjle,
napping, fulling, weighting?
4. What materials are a plain weave or modifications of the
plain weave: poplin, percale, sateen, gabardine, calico,
serge, marquisette, dimity, muslin, Turkish toweling,
jersey, dotted Swiss, gingham?
5. Which words explain why material that is pure silk may be
poor quality: use of fiber silk, short fibers or waste silk,
mercerization, singeing?
6. Which words explain wThy a material that is pure linen may
be a poor quality: tow, bleaching, napping?
PART in
1. List four tests that you might use if you suspected that a
woolen material you intended to buy was partly cotton.
2. List three tests that you might use if you suspected that a
linen material that you intended to buy was partly
cotton.
3. List two tests you might use to determine whether a
material is pure silk or partly cotton.
4. List two ways in which patterns are put into materials.
5. List three tests that you would use for judging quality of
weave.
PART IV
1. What test would you use to find out if silk is weighted?
2. What weave gives the most firmly woven and durable
material?
166 FABRICS THAT WE USE EVERY DAY
3. What two ways do we have of recognizing knitted
materials ?
4. Name two materials that are always yarn dyed.
5. Why is there more danger of shrinking wool materials than
other materials?
6. How can you tell when a shoe is made with a Goodyear
Welt process of manufacture?
7. How can you tell when hose are full-fashioned?
REFERENCE BOOKS
The Shoe Industry. Frederick J. Allen. The Vocational Bureau of
Boston.
Hosiery Manufacture. William Davis. Pitman and Sons, New
York City.
Textile Fabrics and How to Know Them. Grace G. Denny. J. B.
Lippincott Co., Philadelphia, Pa.
Textiles. William H. Dooley. D. C. Heath and Co., Boston, Mass.
Textile Fabrics. Elizabeth Dyer. Houghton Mifflin Co., New York.
The Romance of Modern Manufacture. Charles R. Gibson. Seeley
and Co., London.
Textiles and Clothing. Ellen B. McGowan and Charlotte A. Waite.
The Macmillan Co., New York City.
How to Know Textiles. Cassie P. Small. Ginn and Co., Boston,
Mass.
Clothing: Choice, Care, Cost. Mary Schenck Woolman. J. B.
Lippincott Co., Philadelphia, Pa.
The Encyclopedia Britannica. The Encyclopedia Britannica Co.,
New York City.
The New International Encyclopedia. Dodd, Mead and Co., New
York City.
CHAPTER VIII
MAKING A DRESS
SINCE you have already made a garment with kimono
sleeves you should choose for this dress a pattern with set-in
sleeves. This will give you a new problem in garment construc-
tion. Your success in making this dress will depend upon how
carefully you plan before beginning to sew. No matter how
beautifully the sewing is done, the dress will not be a success
unless it is made of the right material and according to the right
design. If this is your first dress, it will be better for you to
use cotton material which is inexpensive and easy to work with.
How to Plan Your Dress. — What points can you recall
from the chapters " How to Dress in Good Taste " and " Fab-
rics that We Use Every Day " that will help you to plan your
dress wisely? Most people find it helpful to study fashion
magazines and to do window shopping when they are planning
a dress. By window shopping we mean examining the dresses
displayed in shop windows in order to get ideas for making a
dress. Do you see why this will be helpful? Before making
your decision about the design for your dress answer the fol-
lowing questions :
1. Does the design have good proportion of parts?
2. Does it have good line harmony?
3. Will it be becoming to me?
Before you buy the material for your dress it will be a good
plan for you to get some samples and test them according to the
textile tests which you learned. You will wish to know the fol-
lowing things:
1. Will it fade?
2. Will it wear well?
3. Will it launder well?
167
168
MAKING A DRESS
4. Does it have the appearance and feeling of being of good
quality?
At the next class meeting be prepared to report to the class
what design you mean to use, what color and what kind of mate-
rial. You should have a sketch or a picture of the design and a
sample of the material. Exchange the pictures and samples for
your dress with your neighbor. Ask her to criticize the plan
according to the questions asked above. After you have the
approval of your mother and teacher for the plan of your dress,
FIG. 9i. y°u are ready
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your pattern
and your
material.
Study of
Pattern.
— I f you
study the fol-
lowing pict-
ures and de-
J
123
scriptions carefully you will be able to understand and use your
pattern correctly. Study the three pictures in Fig. 91 and find
out in how many ways this type of
garment differs from the kimono
type of garment.
There are certain differences
between front and back in this type
of pattern, as shown in Fig. 92, that
will help you to tell them apart. The
pattern is cut wider across the chest
for the front than for the back. Why
do you think this necessary? Notice
also the difference between the front and the back pattern
in the curve at the neck. The back has a very slight curve,
and the front is much more hollowed out. How would your
SLEEVES
169
FIG. 93-
dress look if you happened to put the deep curve on the back
and the slight curve on the front piece? There is the same dif-
ference in the curve of the armhole on the front and back. More
curve is necessary on the front than on the back. You can see
why this is necessary if you
feel around the armhole of a
dress that you are wearing.
Sleeves. — In the kimono
type of garment the sleeve and
body of the dress are cut in
one piece. The kimono style
of sleeve falls smoothly over
the top of the shoulder. Under
the arm the cloth necessarily
falls into folds, as shown in Picture 1 of Fig. 93. Because of
these folds this type of sleeve is particularly well suited to soft
materials. The set-in sleeve as shown in Picture 2 fits smoothly
into an armhole and does not crush into folds under the arm.
Picture 1 in
Fig. 94 shows
how the top of a
sleeve is shaped
to fit the arm-
hole. It is more
hollowed out in
front than in the
back in order to
fit the armhole. In some sleeve patterns the difference
in the curve at the front and back is very slight. For this
reason it is very important to mark the notches as shown on
the pattern when you cut out your dress. Picture 2 in Fig.
94 shows the sleeve after it has been opened out. Picture 3
shows a sleeve that has a very slight difference in the curve on
the front and the back. Fold your sleeve pattern together to
see what difference there is in the curves.
FIG. 94.
X*~"XFRONT
I 1
170
MAKING A DRESS
Collar Patterns. — Some collars lie flat and some roll up
around the neck. The shape of the neck line in the collar deter-
mines whether it lies flat or rolls around the neck. Examine the
pictures in Fig. 95 and you can see how this happens. Does
the collar with the most curved neckline lie flat or roll around
FIG. .95.
the neck? If your dress has a collar , which style pattern shown
in Fig. 95 was used to cut it? How can you tell?
An Experiment with Patterns. — Try cutting free-hand pat-
terns for different kinds of collars. Make them from newspaper
or wrapping paper and fit them on your neighbor. Make some
that roll and some that lie flat.
Amount of Material Needed. — In order to determine the
number of yards of material needed for a dress, one often buys
the pattern and reads the table to see what amount is specified.
However, it is well to be able to estimate for yourself without
the help of the pattern. Perhaps you have heard a clerk say,
" It will be twice the length, plus the sleeves." Twice the length
means that the amount of material required for the dress de-
pends on the measurement from the highest point of the
shoulder to the bottom, including the width of the hem. Why
is twice this length necessary? The material is generally wide
enough so that both sleeves can be cut from one length. If this
is true of your material how much will you need for the sleeves?
ALTERING YOUR PATTERN
171
FIG. 96.
Why should you decide whether to have long or short sleeves
before buying your material? It is sometimes necessary to
allow extra material for collars and cuffs, depending on the size
and shape of the collar and the width of the material.
Most cotton and linen materials used for dresses are thirty-
six inches wide. Estimate the amount of material you will need.
Ask your neighbor to measure the length of your dress and
sleeve.
Each girl should have her pattern and material ready for
the next lesson. The pattern should be bought first. Compare
the amount of ma-
terial required as
stated on the pat-
tern with your
own estimate.
Altering
Your Pattern. —
We often find that
a pattern is too
long or too short.
If your dress pat-
tern is too long it
should be short-
ened in the same
way as the kimono
pattern. If your
pattern is too
short it should be lengthened, as shown in Picture 1 of Fig. 96,
Why is it better to cut the pattern and move it down instead
of merely adding it on at the bottom? If your pattern is wide
enough at the bottom, will it be correct to cut it off instead of
taking a plait in it?
Sometimes dress patterns are too narrow at the bottom of
the skirt. Picture 2 of Fig. 96 shows a correct way to make it
172 MAKING A DRESS
wider. If the pattern should be too wide at the bottom, how
would you place the ruler?
Cutting the Garment. — Every commercial pattern has di-
rections which come with the pattern telling how to lay the
material on the cloth and how to cut. These directions should
be studied very carefully before the garment it cut. Study your
pattern for the following things :
1. Identify the parts of the pattern in the diagram that is
printed on the envelope or inclosed inside. Then take
out the pieces and identify the different parts of the
pattern. Fold and put away any parts that you will
not use.
2 . Is the pattern the right length and width for you ?
3 . Are the seams and hems allowed on the pattern ?
4. Do you know what each perforation and marking on the
pattern means? Each make of pattern has its own
system of markings.
5. Most patterns have diagrams showing how to lay the
pattern on materials of different widths. Study this
diagram showing the pattern laid on the width material
that you have.
After you feel that you understand how to use your pattern
lay out the material and pin the pattern in place. It is a good
plan for two or three girls to work together, taking turns help-
ing each other. The whole pattern should be pinned on before
any cutting is done. Answer the following questions before
asking your teacher for her approval:
1. Is the pattern laid on the cloth as economically as pos-
sible? Does it waste cloth?
2. Are the center front and center back laid on a lengthwise
thread of the material?
3. Do the markings on the sleeve coincide with a lengthwise
thread of the material?
MAKING THE DRESS 173
4. If there is a right and wrong to the material is the sleeye
pattern planned so as not to cut two sleeves for the
same arm?
5. If the material has a plaid or figure be sure that it is
folded so that the center front and center back of the
pattern come at the center of a plaid or figure.
Making the Dress. — The first thing to be considered is the
kind of seam that is suitable. The kind of dress that you are
making generally has underarm and shoulder seams finished
with the French seam. You have already learned to make
French seams. (See page 44.) Baste the seams and try the
garment on before stitching to see how well it fits. In making
the French seam, will the first seam be on the right or wrong
side?
Are You Doing Your Best? — Sometimes we fail to do our
best because we do not realize that we are making mistakes in
our way of working. It is wise to check up occasionally in our
methods of work and find out how we can improve. This
check-up should include not only our methods of sewing but
our habits of behavior and conduct. The following questions
may suggest to you ways in which you can do your best.
1. Do you know how to concentrate? Can you work hard
for a given period of time without being disturbed by
what the other girls are doing?
2. Do you work steadily or do you constantly interrupt
yourself by wandering around the room and doing
other unnecessary things ?
3. Do you accomplish something every class period or do
you putter away your time?
4. Are you honest in the way you receive help at home?
Do you merely ask to be shown how to do a thing or
do you let someone do it for you ?
5. Do you help other members of your class to do their best?
6. Do any of these ideas suggest ways in which you can do
your best at home as well as in the sewing class ?
174
MAKING A DRESS
FIG. 97.
How to Fit the Dress. — There are three things that should
be particularly observed in your first fitting:
1. If it is too full under the arm this fullness may be re-
moved by taking the seam deeper.
In trimming the seam it should be
slanted out gradually. A good slant
can be secured by laying a yard-
stick along the seam and marking it
accurately. (See Fig. 97.)
2. The armhole should be prop-
erly adjusted as to size. If it is too
large it can be taken up at the under-
arm seam or the shoulder seam as
the case requires. If it is too small
it can be made larger by letting out
the seamsor by trimmingoff the mate-
rial. Particular care must be taken
in trimming out the armhole not to
make the front or back too narrow.
3. The width of the front and back should be properly
fitted. Picture 1 in Fig. 98 shows a back that is cor-
rect. The line of the armhole seam makes a good line
FIG. 98.
over the top of the shoulder. Picture 2 shows a back
that is too wide — the seams drop down on the arm. In
Picture 3 the back is too narrow because the armhole
MAKING THE COLLAR
175
was trimmed out too much. There should be a good
curve from the front over the shoulder to the back.
4. If it is too low in the neck it can be remedied by taking
deeper seams on the shoulder. If it is too low in the
back how can it be remedied without changing the
front?
Select a partner who will help you fit your dress. You
should plan your work so that there is as little trying on as pos-
sible, and yet be sure that it is right. Plan to fit as many things*
as possible each time you put on your dress.
Preparing the Neckline for the Collar. — Before the col-
lar is put on it is necessary to have the neckline cut exactly
right. This is often done at the second fitting after the seams
are stitched. See that the garment hangs properly from the
shoulders without pulling away from the back of the neck.
Notice the line of the neck, and if it does not seem right put in
pins that will be a guide for trimming. Trim after the garment
has been removed. Pin the two shoulder seams together so as
to cut both halves exactly alike. Remember to leave a seam
allowance. -^/^
Making the Collar. — The collar may be of single or double
thickness of material.
The edge of the collar
made from a single thick-
ness can be finished in
various ways. It may
have a bias facing such
as was used for the neck
of the nightgown, or it
may have a bias binding
such as was used for the
front opening of the
kimono. In what other ways could it be finished? The
double collar is made by placing the two right sides together
and sewing around the edge with a plain seam. Trim the seam,
12
FIG. 99.
176
MAKING A DRESS
FIG. 100.
as shown in Fig. 99, and then turn the collar to the right side.
Crease sharply around the line of stitching and the collar is
ready to be applied.
Putting on the Collar. — There are different ways of put-
ting on collars, but it will be ad-
visable to use the simplest which
is with a bias facing. Place the
collar to the neck of the dress,
matching the center backs. Be
sure that the ends of the collar
measure the same distance from
the shoulder seams. Can you tell
from looking at Fig. 100 which
side of the collar is placed to the
right side of the dress? Baste
the collar to the dress and before
stitching baste the bias strip
around the seam, as shown in
Fig. 100. One stitching will hold
the bias facing, the collar and the
dress together. The bias facing is
turned to the inside of the dress and sewed flat, just as with
other facings. Special care should be taken to fold the facing
sharply on the line of stitching. After
it has been turned it is well to baste
near the line of stitching so as to hold
the facing in place. Hem by hand
or stitch on the machine.
Neck Opening. — Some dresses
have large enough neck openings so
that they can be slipped over the
head. Other dresses must have an
FIG. 101.
additional opening because the neck is small. A slit is made down
the front, the back or at the shoulders. The simplest way of
making such an opening is to finish the slit with a bias binding,
PLAIN HEMMING 177
as shown in Fig. 101. Putting on this bias binding is very much
like putting on the continuous placket. If you study the pictures
in Fig. 54 and review the making of the placket you should be
able to find out for yourself how to finish this opening. You will
find that there are three points of difference. First, the bind-
ing is cut on the bias, so that it will fit smoothly around the
curve at the bottom of the opening. Second, it is cut narrow
and does not fold back like the placket. Third, it is finished by
hand on the wrong side of the garment. How will this change
the first step in putting on the binding? FlG I02>
Directions are given below for hem-
ming the binding by hand.
Plain Hemming. — 1. Hold the
work over the first finger of
the left hand as shown in
Fig. 102.
2. Take tiny, slanting stitches
through the cloth and through the folds of the hem.
The picture shows the direction in which the needle
should slant.
3. The great difficulties in doing the hemming stitch are to
make the stitches small and even and to make them all
slant in the same direction. Criticize your own work
for these three things. With which one do you have
the most difficulty?
Inspection of Your Work. — Ask your neighbor to criti-
cize your work according to the following questions. After this
criticism ask your teacher for her help or approval. Learn to
judge your own work before asking your teacher if it is all right.
1. Is the collar put on straight?
2. Is it put on without puckering?
3. Is the bias facing turned back sharply on the line of
stitching?
4. Is it hemmed or stitched down neatly?
5. Are the ends finished neatly?
178 MAKING A DRESS
Making the Sleeves. — Generally a French seam is used for
putting the sleeve together. The length of the sleeve should be
determined by basting it into the armhole or pinning it in while
the garment is being fitted. The finish of the sleeve at the bot-
tom involves no new problem in construction. For example, a
cuff may be applied with a facing in the same way the collar was
put on. Instead of the cuff, a hem, a binding or a facing may
be used.
Caution. — Remember there is danger of making both sleeves
for the same arm.
Putting in the Sleeves. — Most sleeves are cut so that they
fit plain, without fullness, into the armhole. These plain sleeves
are more attractive than sleeves with fullness because they con-
form better to the shape of the shoulder. Putting in the sleeve
is very important, because if it is not put in correctly it spoils
the attractiveness of the garment. All patterns have notches
showing how the sleeve should be placed in the armhole. The
seam of the sleeve is placed either a little in front of the under-
arm seam or so that it matches the underarm seam of the
garment. Following are the directions for putting a sleeve
into a dress :
1. Place the sleeve in the proper place in the armhole ac-
cording to the notches with the right side of the sleeve
to the right side of the garment. Pin the sleeve in
place all around the armhole.
2. In case there is a little extra fullness it may be possible
to ease it into the armhole without spoiling the effect of
plainness. It should be fulled in across the top of the
sleeve. If you hold the sleeve toward you when bast-
ing it is easier to put in the extra fullness.
3. Baste about one-quarter-inch seams. If the seam is too
wide it will spoil the fit of the garment. If it is too
narrow it will pull out.
FINISHING AT THE BOTTOM
179
Try the garment on to see if the sleeve is put in correctly.
The highest part of the curve in the sleeve should fit
over the bone of the shoulder. Otherwise, it will draw
toward the front or back and cause wrinkles.
Stitch exactly where it is basted.
Finish by overcasting or binding with a bias binding.
FIG. 103.
Can you tell how overcasting is done by studying
Fig. 103?
7. Turn the seam back on the garment and press.
Fig. 104 shows three mistakes that are commonly made in
overcasting. The first has uneven stitches, the second has
FIG. 104.
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stitches that are pulled too tightly, and the third has stitches
that are too deep.
Inspection of Your Work. — 1. Is the sleeve placed properly?
2. Is the seam even and of a good width?
3. Is the seam finished neatly with overcasting or binding?
Finishing at the Bottom. — The hem at the bottom should
be measured and finished according to the general procedure
180 MAKING A DRESS
used in hemming up the kimono. The width should be at least
four or five inches. This will allow for shrinking and for letting
it down as one grows. The hem may be stitched on the machine
which makes a strong and good-looking finish or it may be fin-
ished by hand with the hemming stitch. This takes longer to
do but is easier to let down if necessary.
Making the Belt. — Most one-piece dresses are made with
a narrow belt. This belt should be cut lengthwise of the mate-
rial and a little more than twice the desired width. Like the
collar, it is sewed up wrong side out and turned to the right side.
Sometimes it can be turned with the help of a knife or small
stick. Turn in the raw edges at the ends and overhand.
A Criticism of Your Dresses. — When the dresses are finished
they should all be brought to the classroom and displayed so
that each girl can criticize them. Sometimes the girls wear their
dresses for this exhibition. Make a list on the blackboard of
the things for which you think it will be fair to criticize these
dresses.
Is It Cheaper to Make a Dress or to Buy It Ready
Made ? — Whether it is cheaper to buy clothes ready-made or to
make them at home has long been a much discussed topic.
Instead of making your dress you might have bought it ready-
made at a store. You can learn something about the cost of
clothing if you compare what the materials for your dress cost
with the cost of a ready-made dress of the same kind and qual-
ity. There are several points that must be kept in mind in mak-
ing such a comparison. First, the quality of material in the
ready-made dress should be as good as the quality of the mate-
rial bought by the yard. Sometimes a ready-made dress seems to
be a good bargain until one examines the quality of the material.
Frequently, cheap trimming, such as lace and embroidery, is
used on ready-made garments to make them appear better than
they really are. Second, the quality of workmanship must be
considered. A carelessly made garment with seams that pull out
IS IT CHEAPER TO BUY IT READY MADE? 181
and stitching that puckers does not compare with a well-made
garment. Ready-made garments of poor quality are often made
with stitching that has too coarse a thread and a stitch that is
too long. Sometimes in cheap garments the collars and cuffs
are not cut with the thread of the cloth and are not put on
straight. Buttonholes should be well made and fastenings
firmly sewed on. Third, the amount of time which one has to
spend should be considered. If a woman can earn more money
by doing other kinds of work than she can save by making her
own clothes, it would not be wise for her to do her own sewing.
If a ready-made dress cost $5.00 and the materials for a
dress of the same kind and quality cost $2.00, the difference
would be $3.00. The amount of time spent in making the dress
would then be worth $3.00. If you spent thirty hours your
time would be worth ten cents an hour. If you have no other
way of making money you can consider that you are earning
ten cents an hour. And if it were a more expensive dress you
would, of course, earn much more than ten cents an hour. As
a schoolgirl your time probably has no great money value, but
if you become a business woman or busy housewife it will be
wise for you to think out whether it is better for you to make
your own clothes or to buy them ready-made.
A Problem to Think Out. — 1. Compute the cost of the
materials for your dress, including buttons, threads,
etc. Estimate the number of hours which you spent
making your dress.
2. Find out what a dress of the same kind and quality
would cost if you should buy it ready-made. Be
sure that the material and workmanship in the ready-
made dress are of as good quality as in the one which
you made.
3. Estimate the amount of money you saved and what your
time is worth per hour.
182 MAKING A DRESS
WHAT YOU SHOULD HAVE LEARNED WHILE MAKING
YOUR DRESS
1. How to fit a onepiece dress.
2 . How to put on collars and cuffs.
3. How to put in sleeves.
4. How to make a belt.
5. The hemming stitch.
6. The overcasting stitch.
7. How to estimate the amount of material for a dress.
8. How to alter a pattern.
9. To compare ready-made and home-made clothing.
An Extra Project for Your Home Work. — Although you
have learned many things about sewing you will not have had
the opportunity to gain much skill in the making of one dress.
However, you should have learned enough about sewing so that
you can make another dress. You may wish to make a dress
similar to the one you have just finished. Perhaps you can
make'a dress for your mother or sister. Discuss this prob-
lem with your mother and find out what you can do to gain
experience and at the same time assist her with her sewing.
Probably you will not wish to make another dress exactly
like the one you have just finished. However, it should be pos-
sible to use the same pattern and make a dress that is quite
different. One way to make the dress different is to finish the
neck with a different shaped collar or with a binding. This
means that the bottom of the sleeves should be finished to cor-
respond with the collar. Another way is to use a different kind
of material. You might choose a woolen material such as flan-
nel. A third way is to work out an interesting combination of
materials. A figured material used for the dress contrasted
with plain material in the collar and cuffs makes an attractive
combination. Can you think of other ways to change your
pattern so that you can make a different dress?
TESTING YOUR KNOWLEDGE OF PATTERNS 183
PICK THE RIGHT PATTERN TEST
FIG. 105.
PART I
1. Which pieces of the patterns above are used in making the
dress in Picture 1?
2. Which pieces are used for the underslip in Picture 2?
3. Which pieces are used for the dress in Picture 3?
4. Which pieces are used for the kimono in Picture 4?
5. Which pieces are not used for any of the four garments
shown?
PART II
Write each of the following statements correctly. There is
something wrong in each statement.
1. The curve at the back and at the front of the neck should
be cut so they are exactly alike.
2. The curve on the front of the armhole should be less curved
than the curve on the back.
184 . MAKING A DRESS
3. If a pattern is too long it should always be altered by
cutting off the bottom.
4. A dress is made from thirty-six inch material. If it is thirty-
five inches long from shoulder to bottom, and the sleeves
are ten inches long, the whole dress will require seventy-
five inches of material.
5. The center front and back should always be laid on the
crosswise fold of the material.-
6. If the armhole is too large it can be made to fit better by
taking up the center front.
7. In putting on the collar, first baste the right side of the
collar to the right side of the dress.
8. In hemming the stitch should always be taken from left
to right. v
Books for Reference. — When you are planning and
making clothing it will be helpful to refer to other books. You
may wish to look up certain topics on textiles and dress design.
The books that are most helpful for these topics are listed at
the end of Chapter 6 and Chapter 7. Or you may wish to make
a further study of the sewing machine, patterns and problems
in clothing construction. These books are listed below.
1. Clothing for Women. Laura I. Baldt. J. B. Lippincott Co.
2. Dressmaking. Jane Fales. Charles Scribner's Sons.
3. Essentials of Sewing. Rosamond C. Cook. The Manual Arts
Press.
4 Machine Sewing. Singer Sewing Machine Co. Inc.
5. Sewing Machines. Rosamond C. Cook. The Manual Arts Press.
CHAPTER IX
A PLAN FOR BUYING YOUR CLOTHING
What You Are Wearing To-day. — Did you ever realize
how many dollars' worth of clothing you wear to school every
day? Girls often do not think about their clothing in just this
way. Such was the case with the girl who wanted a new dress
and was told by her mother that they could not afford it. She
was disappointed and very cross, because it seemed to her that
always when she wanted something new, her mother said, " We
cannot afford it." She tried to explain to her mother what a
bargain the new dress would be and how little it would cost. In
answer, her mother asked her if she knew how much the clothes
cost that she wore to school that day. So she started to add the
cost of all the different pieces of clothing that she was wearing.
Her shoes cost $5.00, her dress, $3.00, her hat, $3.00, her under-
wear, $2.00, her stockings, 55 cents, and her coat, $10.00, mak-
ing a total of $23.55. This surprised her very much. Then
she remembered that her brother and two sisters were also
wearing clothing that cost money. She found that more than
$100 worth of clothing was worn to school by the children in
her family every day. She thought of all the other things that
required money and decided, after all, it was not fair for her to
have a new dress unless her old one was worn out and she really
needed it.
Can you estimate how much the clothing cost that you are
wearing to school to-day?
What is a Budget? — There are very few families in the
world that have a large enough income to provide everything
that everyone in the family would like to have. Most people
have a limited income and have to plan how to spend their
money so as to get the most for it. The plan for spending an
income is called a budget and includes apportioning certain
amounts of money to be spent for certain things. Some people
185
186 A PLAN FOR BUYING YOUR CLOTHING
feel that a budget limits them in buying things. As a matter of
fact, it is the amount of money one has to spend that limits the
buying. The budget is a plan that helps one to get the most
possible value for the amount of money one has. It is a busi-
ness-like way of spending money and big, successful business
firms manage their business in this way. Whether the income
is $1.00 or $5.00 or $500.00 a month, one should have a plan
for spending it. The budget sometimes makes it possible to
have more things because the money is spent wisely. It is easy
to spend too much money for one thing and then have nothing
left for other things that one wants. Did you ever spend money
for something and then regret it, wishing that you had spent it
differently? A budget would have made you think a little more
carefully before making a foolish purchase.
The Clothing Budget for the Family. — The family in-
come must pay for all the things that it is necessary for a family
to have, including food, clothing, house rent and other things.
Experts who have made a study of what many families spend
for these various things, tell us that about fifteen or twenty per
cent, is generally spent for clothing. This means that a family
with an income of $1500 a year would spend from $275 to $300
a year on clothing. If there were only three members in the
family this amount would be divided among them. However,
if there are five members in the family each member can not
have as large a share.
Every member of the family must cooperate in spending the
family income. Good sportsmanship is just as important here
as in playing a game. It would not be fair for you to insist upon
having a new dress if you have already spent your share for
clothing. When you are working out the problem of how much
you should spend for clothing you might ask yourself these
questions: Have I had more new clothes than my mother this
past year? Has more money been spent for my clothing than for
my sister's? Is it fair for me to spend as much money for my
clothing as my mother spends for hers?
INVENTORY OF YOUR CLOTHING 187
In a family of five people with an income of $1500 a year,
twenty per cent, of the income may be spent for clothing. This
means that $300 a year is spent on clothing the family. Sup-
pose $75 each goes to the father and to the mother, $60 to the
older girl and $45 each to the younger brother and sister. Do
you think this is a fair way to distribute the money among the
five members of this family? The younger children do not
require as much money for their clothing because their clothing
is not so expensive nor should any of the children spend as
much money for clothing as the father or the mother. In some
families the mother and father are so unselfish that they take
only a small portion of money for their own clothing. What is
the responsibility of the children in such a family?
A Girl's Clothing Budget. — The class will find it an inter-
esting problem to work out a clothing budget for the girl who
has $60 a year to spend. At first it seems impossible to buy all
the clothing a girl needs for $60. If you stop to think you will
realize that all the articles do not have to be purchased every
year. A coat, for example, is bought every two or three years.
This is also true of underwear, dresses and other articles. Do
you think it would be practicable to plan on the basis of two or
three years? Whichever you choose, decide what should be
purchased with the $60 each year. In order to work out the
budget scheme satisfactorily it will be necessary to get prices.
You can get these prices by consulting with your mother and
at the stores.
Make a list of the articles of clothing that the girl would buy
each year and the average cost of each article. It is your prob-
lem to decide just what portion of the $60 should be spent for
hats, shoes and other articles of clothing.
Inventory of Your Clothing. — People who have consid-
ered the matter are coming to agree that it is every girl's respon-
sibility to work out a clothing budget for herself. The best way
to make a good start at a clothing budget for yourself is by
first taking an inventory of all the clothing you have at present.
188 A PLAN FOR BUYING YOUR CLOTHING
It will be a good plan to put this inventory in a notebook or
some form of record book which is kept especially for this pur-
pose as you will probably continue to use the book for a number
of years. The blank form below will suggest a method of listing
the articles of clothing which you have at present. Discuss
with the class what other items should be added under each type
of clothing. Copy this blank into your notebook and add the
other articles of clothing. In the first column list the number
on hand. In the second column write the number of these
articles which you require for one year. You will probably find
it necessary to consult your mother in order to fill out this col-
umn correctly. After you have filled out these two columns you
can see what it will be necessary for you to purchase during the
coming year. In the third column record the number of articles
that you will need to purchase. In the fourth column record the
amount which you generally spend for each article. For ex-
ample, if the average cost of your handkerchiefs is ten cents
you should place ten cents in the appropriate place. In the next
column place the amount of money that you will need to spend
during the year. For example, if you need ten handkerchiefs
and each handkerchief costs ten cents, it will require one dollar
for the purchase of handkerchiefs.
Your Own Clothing Budget. — The data that you have
recorded in the table will show what articles of clothing you
need and how much they will probably cost. These figures
should help you to work out a budget for your clothing expendi-
tures. How can you use this inventory to improve your plan
for buying clothing? Did you spend too much for certain
things that did not give you a corresponding amount of service?
Did you have too many things of one kind that you really did
not need? Or perhaps you bought things of poor quality that
did not wear well, making it necessary to replace them sooner
than should have been necessary. Your inventory should help
you to plan your clothing budget more wisely for another year.
YOUR OWN CLOTHING BUDGET
189
Number on
hand
Number
required for
one year
Number
needed
Average
cost of each
article
Total
amount
to be spent
Outer clothing
Dresses —
School
Party . ...
Coats
Underwear
Union suits
Bloomers
Footwear
Shoes
Stockings
Rubbers.
Tennis shoes ....
Hats
Winter .
Accessories
Handkerchiefs . .
Gloves
Umbrella
190 A PLAN FOR BUYING YOUR CLOTHING
After you have decided how to apportion the money in your
clothing budget copy the table shown below on a page in your
record book and record the proper amount of money in each
blank space. If you do not need a certain article of clothing,
such as a coat, for the first year, you will leave that space blank,
but record the amount you expect to spend during the second
year. In the space at the bottom of each column record the
total amount of money that you expect to spend each year. If
you decide to purchase your clothing according to the three-year
plan add another column to the table.
Keeping Accounts Is Helpful. — In order to know whether
you are living up to the plan that you have made it is necessary
to keep accounts of what you spend. Otherwise, you may spend
too much for one or two things and not enough for other things,
or you may spend more than you should one season and not
have enough for another. For example, you may spend more
than your budget allows for your winter coat. This means that
you will have to make up for this extra expense by spending less
money on other articles.
Of course, having a budget does not mean that one must
spend exactly the amount of money indicated for each item.
The budget is a plan for helping to apportion your money
wisely. If your accounts show, for example, that you have
spent less money than the budget allows for some one article
of clothing you can use the amount that has been saved in the
purchase of something else. Can you suggest other ways in
which keeping accounts can be helpful?
You should set aside certain pages in your notebook for
keeping these accounts. How often do you think you should
record what you spend for clothing? Discuss with your class
a good form to use in setting down accounts for clothing ex-
penditures.
Getting the Most for Your Money.— Since the amount of
money that we spend for our clothing is usually limited, we
wish, of course, to spend our money to the best possible advan-
GETTING THE MOST FOR YOUR MONEY 191
First year
19. . to 19. .
Second year
19. . to 19. .
Outer clothing
Dresses-
School
Party
Coats
"Underwear
Union suits . .
Bloomers. . .
Footwear
Shoes
Stockings. . . .
Rubbers
Tennis shoes .
Hats
Winter..
Accessories
Handkerchiefs.
Gloves
Umbrella. .
ia
192 A PLAN FOR BUYING YOUR CLOTHING
tage. Even though we have a budget to guide us in spending
our money, we sometimes make mistakes. The following pages
will tell you about some of the mistakes that you will wish to
avoid when purchasing your clothing. Read the following para-
graph and decide if the girl who bought a " bargain " spent her
money wisely.
This girl needed a new dress for school wear and was told
by her mother that she might go downtown and select the dress
for herself. She was delighted and went shopping determined
to buy the best dress possible for the money. While she was
looking at dresses in one shop she noticed a rack full of dresses
marked " Reduced for Clearance." Among these dresses she
found a silk dress that she had looked at earlier in the season
and had not been able to buy because it was too expensive. The
present price was just one-half of what it had formerly been.
It did not cost as much money as she had to spend for her school
dress. There was no doubt that it was a real bargain and she
went home with the silk dress and some money that she had
saved. It was not until the next morning when she began to
dress for school that she began to doubt the wisdom of her pur-
chase. The dress she had bought was really not suited for
wearing to school and so after some hesitation she was forced
to put on her old school dress. Although she had not spent all
her money she had not saved enough to buy the dress she really
needed. She decided that she had better take the dress back
and exchange it for one she could wear to school. Then she
remembered that the dress had been on sale and could not be
exchanged or returned. So she was forced to wear it to school,
but she felt very uncomfortable and conspicuous.
To Discuss with Your Class. — Did this girl really get a
bargain? Why not? Even though this dress was of excellent
material and workmanship, do you think this girl spent her
money wisely? Under what conditions would it have been
wise for her to have bought the dress? One way of getting the
most for your money is to buy the thing which exactly suits
CONSPICUOUS CLOTHING 193
your needs. Do you know other instances where people have
made foolish purchases of this kind?
Planning to Get All the Things You Need. — When one
has a limited amount of money to spend, one must plan not to
spend too much for any one thing. This is illustrated by the
following incident. A girl who needed a new hat, a new dress
and a new pair of shoes for her spring outfit, started out to make
these purchases. She had $25 to spend for these purchases
and since it was more than she had ever had before, it seemed
as though she had plenty of money for everything she wished
to get. First, she went to look at hats and soon found one that
was becoming and that she liked very much. She inquired the
price and was told that it was $10.50. Although she had never
spent so much for a hat, it seemed as though she had plenty of
money and so she bought the hat without hesitation. Next she
went to buy her dress and found one that was exactly right to
go with her hat. The dress cost $12.50, and although she
realized that this would take most of her money she could not
resist buying the dress. It was so attractive and exactly what
she needed. After she had bought the dress she had only $2.50
left. It was not possible for her to buy a pair of shoes for this
amount, so she was forced to wear her old shoes with the new
dress and hat.
To Discuss with Your Class. — Do you think this girl did
her shopping wisely? What do you suggest she might have
done to avoid making such a mistake? Do you think it would
be helpful to apportion the money for your whole wardrobe
each year? Some people who do this find it helpful in getting
the most for their money. Do you know anyone who follows
this plan?
Conspicuous Clothing. — Read the following story and see
if you can make another rule that helps one to make good selec-
tions when buying clothing.
The girl in this story went to town one day with her mother
to get a new coat. At one store they found two coats that were
194 A PLAN FOR BUYING YOUR CLOTHING
reasonable in price and that fitted very well. One coat was a
pretty, soft blue, the other was a brightly colored plaid. Her
mother thought that it would be better to buy the blue coat
because it was less conspicuous and one would not tire of it so
quickly. However, the girl insisted on having the plaid coat
because plaids were stylish that season. At first she was de-
lighted with the coat but after a few months she began to tire
of it. She wished the plaid were not so conspicuous and won-
dered if, after all, the plain, blue coat would have been more
satisfactory. She also thought that if the plaids had not been
so brightly colored she might have continued to like the plaid
coat. When the next winter came and she realized that she
would have to wear the coat for another whole season, she
wished more than ever that she had bought a less striking coat.
To Discuss with Your Class. — After reading this story what
rule can you make that will help you to buy your clothes more
wisely? When is it justifiable to buy conspicuous things? Have
you ever had anything conspicuous and wished you did not have
to wear it so long?
Planning Your Clothing So It Harmonizes. — Do you
have anything in your wardrobe, for example, a hat, a pair of
shoes or a dress, that does not seem to fit in with the rest of
your clothing? It sometimes happens that a hat is not the
right color to blend with the coat or dress. Did you ever see
anyone wear clothing that did not harmonize in color? Unless
one first plans a general color scheme, it is easy to make the
mistake of getting things that do not go together well. Each
thing may be attractive in color but when the colors are put
together they make a bad combination. For example, if you
should buy a red felt hat because it was becoming and you liked
the color and shape, you might find that it did not harmonize
with any of your dresses or your coat.
To Discuss with Your Class. — Do you see why it will be
wise to plan a general color scheme before buying your clothes?
WHAT WILL HELP YOU SELECT CLOTHING? 195
Even though the red hat was greatly reduced in price do you
consider it was a " good buy? " Considering what you now have
in your wardrobe, if you wished to buy a new hat, what color
would be best to choose?
Clothing That Requires Constant Cleaning Is Expen-
sive.— Perhaps you have heard someone say, "It is not the
original cost, it is the upkeep that is expensive." Do you see how
this can be applied to clothing? The girl who bought a white
felt hat because it was cheap, found that in the long run it was
expensive, because it required frequent cleaning. She bought the
white hat because it was cheaper than the tan hat and she wished
to save money. But when she added the amount of money she
spent in having the white hat cleaned to its original cost, she
found that it had cost more than the tan hat would have cost.
To Discuss with the Class. — Can you give other examples of
clothing that has proved expensive because it required so much
cleaning? Can you give another example of how a cheap gar-
ment turned out to be an expensive one? Do you think that
even though you can do your own cleaning, it is wise to buy
clothing that requires constant cleaning?
What Have You Learned That Will Help You to Select
Your Clothing? — When you have read this far in this chapter,
make a list of five points that you should consider in the selec-
tion of clothing so as to get the best value for your money. In
other chapters in this book you have learned things that should
also help you to get the best value for your money. For ex-
ample, one thing you have learned is how to make some gar-
ments and you have found that it is sometimes cheaper to make
garments than to buy them ready-made. Add four other things
to your list that you have learned about clothing which help
you to get the best clothing for the amount of money you have
to spend. If you do not recall four things to add to your list,
look in Chapters VI and VII. Altogether you will have a list of
ten things that will help you in your purchase of clothing.
196 A PLAN FOR BUYING YOUR CLOTHING
How to Get Better Value from Your Clothing. — Buy-
ing new clothing is only half the story in making the
amount of money that you have for the clothing budget go as
far as possible. If you have practiced good methods of
laundering, removing spots, pressing and storing clothing, you
will find that your clothing will give you better service and not
require the purchase of new clothing so often. Can you add
any other things which' will increase the length of service which
your clothing gives?
Sometimes a dress that has only been worn for a year is
somewhat out of style, but the material is still good. It seems
extravagant to throw away a dress like this because it is out
of style. People who know how to sew can often think of ways
to make over or remodel such a dress For example, a one-piece
dress can easily be* changed by simply raising or lowering the
belt. Frequently, the mere lengthening or shortening of the
skirt makes the dress seem more up-to-date'. If styles change
so that narrow, straight skirts are more popular than wide, full
skirts, it is possible to take out some of the fullness so as to
completely change the effect.
To Discuss With Your Class. — What other ways of remod-
elling dresses can you suggest? Under what conditions would
it not pay to remodel a garment? Should the value of one's
time be a factor when deciding whether to remodel one's clothes ?
TO TEST OUR JUDGMENT IN CLOTHING PROBLEMS
V
Having completed your study of clothing up to this point,
you will be aware of the many problems in connection with
one's clothing. To solve the following problems correctly will
require the knowledge you gained not only from this chapter
but from previous chapters. The manner in which you answer
these questions will show your ability to use the information
that you have* acquired.
OUR JUDGMENT IN CLOTHING PROBLEMS 197
Should a girl who is apportioning the money in her clothing
budget, plan to spend the same amount of money for her
party dress and for her school dress? Should she spend
the larger amount for her school dress or should she
spend the larger amount for the party dress? In answer-
ing this problem you will perhaps be able to think of
arguments for each side.
Of the clothing that you are wearing today has any one
article proved to be an especially wise or unwise pur-
chase? Give your reasons according to points that have
been suggested in this and previous chapters.
It is sometimes a debatable question as to how the money
for clothing should be apportioned between different
members in the family. In this case much more money
was spent for the clothing of the daughter than for that of
the mother. The daughter' attended a high school and
went to frequent social affairs. The family agreed that she
should be well dressed. Her mother seemed to be con-
tented to stay at home and consequently needed less
money for clothing. Do you think that it was fair in this
case for the mother to have less money for clothing than
the daughter?
In the case of a family where the income is $2500 and 15
per cent, of it is spent for clothing, how do you think the
money should be divided among the father, mother, the
girl who is four years old, the twins who are six years old,
the boy who is ten years old and the girl who is twelve
years old?
Give an instance that you think illustrates the fact that it
is sometimes not wise to remodel clothing. Give an illus-
tration which shows when it is advisable to remodel
clothing.
Select one of the ten points to be considered in the purchase
of clothing and tell how you have applied it or failed to
apply it in some particular instance.
198 A PLAN FOR BUYING YOUR CLOTHING
OTHER BOOKS TO READ
1. Economics of the Family. C. W. Taber and Ruth A. Wardall.
J. B. Lippincott Company, Chs. I, II, III, XV.
2. Principles oj Clothing Selection. Helen G. Buttrick. The Mac-
millan Company, Ch. XIII, pp. 162-176.
3. Spending the Family Income. S. Agnes Donham. Little, Brown
and Company, Ch. XII, pp. 109-119.
4. Clothing; Choice, Care, Cost. Mary S. Woolman. J. B. Lippincott
Company, Ch. X, pp. 144-172.
5. Successful Family Life on the Moderate Income. Mary Hinman
Abel. Chs. XIII, XIV.
CHAPTER X
WHAT IS YOUR SHARE IN HELPING TO KEEP HOUSE?
HAVE you ever thought what your share is in helping your
mother to keep house? There are many ways in which a girl
may help her mother, but caring for her own room is a special
responsibility which every girl realizes is her own. Taking care
of one's room, of course, involves keeping it in order, making the
bed, and keeping the room clean. Some girls are surprised to
find out how interesting these tasks may be. Keeping your
room in order is like working at a puzzle which you must try
many times before you find the right answer. It is like a puzzle
to find out how long it will take you every morning to put your
room in good order. If you share your room with your sister
it will be even more fun to work out this puzzle. In the follow-
ing paragraphs there are some ideas that will help you to work
out a good plan for caring for your room.
Speed in Making the Bed. — Do you know how many min-
utes it takes you to make your bed? Time yourself to-morrow
morning as to how many minutes it takes you and be ready to
report on this at your next lesson. It would not be fair to report
your time on making a bed that is not well made. In order to be
sure that all the girls in the class understand how to make their
beds arrange a demonstration of bed-making. If you do not
have a full-size bed at school a large doll's bed will do. Can
you think of other ways to arrange a demonstration in bed-
making?
Four things are necessary to have a well-made bed.
1. The bottom sheet should be stretched smoothly and
tightly over the mattress and tucked under the mat-
tress all the way around. The sheets should have
199
200 YOUR SHARE IN HELPING TO KEEP HOUSE
neatly folded corners. In hospitals they have a special
way of folding the corners which holds the sheet firmly
in place. Look at the pictures in Fig. 106 and see if
you understand how this is done. Try folding a piece
of paper or your handkerchief over a book to see if you
can do it. Perhaps you may decide to put your sheet
on this way.
2. The upper sheet is put on so that the corners at the foot
FIG. i 06.
of the bed are well tucked in, but at the head of the
bed the sheet is left long enough to fold back over the
covers. This is to keep the edges of the blankets
clean.
3. The blankets and cover should be put on straight so that
no corners sag.
4. The pillows should be shaken up and put on neatly rather
than thrown on the bed.
If you make your bed according to these requirements it
will be fair for you to report how long it takes you and compare
your time with the other girls. Of course, it would not be neces-
sary to take a bed all apart every morning, but for this contest
it will be better to do it this way.
Report on Time Used for Bed-Making. — Make a list on the
blackboard showing how much time it took each girl to. make
her bed. Look over this list and note what the shortest time is,
the longest time, and the average time. Work out the average
time by adding all the individual records and dividing their sum
by the number of records. Here are a few questions which will
AIRING THE BED 201
help to point out why some girls can make beds more quickly
than others.
1. Did you have the bed clothing piled on a chair placed in
the most convenient spot? Or did you waste steps
going to get each piece?
2. Did you take any other useless steps?
3. Did you have the bed clothing piled so that it was easy
to get each piece when you needed it?
4. Did you stop to do anything else before finishing?
5. Did you make any mistakes in folding the corners?
6. Is it a double bed or single bed?
7. Is the bed placed so near the wall that it has to be moved
to make the bed properly?
Perhaps these questions will help you to make your own bed
more quickly. You may be able to think out other ways of
saving waste motion. If you study how to save time in making
a bed in this way you are doing what the up-to-date housekeeper
tries to do with all her problems.
Try timing yourself again. If you made the bed well, it
will not be necessary to remove all the covers. Report your
time again and decide with the other girls how much time an
efficient housekeeper should allow for making a bed.
Airing the Bed. — A very important thing about caring for
a bed is the airing of the mattress and bed clothes. Evapora-
tion from the body causes impurities and odors which should
be given a chance to escape from the bed. For this reason the
bed should never be made immediately after rising. The covers
should be thrown back for as long a time as you can arrange to
leave them before going to school and the window opened if
practicable. Perhaps you can leave the covers while you get
ready for school and eat your breakfast.
Once a week the bed should be thoroughly aired. It is a
good plan to do this on the same day you put on' clean sheets.
You will probably plan to do this on Saturday morning so that
202 YOUR SHARE IN HELPING TO KEEP HOUSE
the bed will have time to air thoroughly. This is also the time
to turn the mattress, which prevents the mattress from sagging
into a hollow on one side. Why is it a good plan to turn the
mattress from end to end one week and from side to side the
next week? The window should be thrown open and the covers
spread out over chairs so that the air can circulate over them
freely. Why is it not wise to hang bedding out of windows?
How to Save Time by Keeping Things in Convenient
Places. — Another way of saving time when putting your room
in order is " to have a place for everything, and everything in its
place." This means more than merely putting your clothes
in the closet. It means working out a plan for putting things
in the most convenient places. Have you ever wanted to find
a dress or coat in a hurry when you were dressing for school and
been delayed because it was at the back of the closet with other
clothing hanging on top of it? Do you think it will be worth
while to plan just where to hang your coat, sweater and dresses?
Where will you plan to put the things which you wear every-
day? Where will you hang the things you do not wear so often ?
If you share your closet with someone else you will have to plan
a convenient arrangement for both. Do you think it is fair for
one girl to have more than half of the closet or to have the most
convenient place for keeping her things?
The most convenient closets have rods extending from side
to side upon which to place hangers. This makes it unnecessary
to hang one garment over another on the same hook, which is
very inconvenient. If there is no rod in your closet the handle
of an old broom or mop will serve the purpose very well. Do
you think a closet will hold more clothing if the clothing is ar-
ranged on hangers placed on a rod, or if the clothing is hung on
the hooks around the walls ?
A convenient arrangement of the closet will include keeping
things off the floor as much as possible so that it can be cleaned
quickly and easily. In a well-arranged closet there should be
THE HABIT OF PUTTING THINGS AWAY 203
some way of keeping shoes off the floor. Some people keep their
shoes in shoe bags, in shoe racks or on low shelves. This not
only makes the floor of the closet easier to clean, but it keeps
the shoes from getting dusty.
Do you have your things arranged conveniently on your closet
shelf? Plan to keep your everyday hat in the most convenient
place so that you will not waste time hunting for it when you
are in a hurry. What other things do you plan to keep on your
shelves ? Do you have them conveniently arranged so that you
will not waste time getting them when you need them?
The plan for having a convenient arrangement for keeping
things in order also applies to the dresser or bureau. When
you go to your dresser can you find what you want without
looking through every drawer to find it? Do you have a spe-
cial place for your handkerchiefs, gloves, ties, stockings and
other belongings?
The Habit of Putting Things Away. — Having a conveni-
ent place for each thing is just half the story. Putting things in
their places is the other half of the story. It is much easier and
saves time if you do not drop things just any place in the room.
If you put things away and hang up your clothes at night, there
will be no picking up to do in the morning. The habit of putting
things away as you go is a great time saver.
When two girls are sharing a room together, each should be
careful to do her share in keeping things in order. This means
putting things away instead of leaving them around the room.
It is inconsiderate to keep a room in disorder when someone is
sharing it with you.
Something to Do. — 1. Draw a diagram of your closet and
the drawers of your bureau, showing where you keep
your clothes and other belongings.
2. Draw another diagram showing how you can improve
on your present plan.
Avoid a Cluttered Room. — Which of the dressers in Fig.
204 YOUR SHARE IN HELPING TO KEEP HOUSE
107 has an untidy, cluttered appearance? A few well-arranged
things on the top of the dresser make it much easier to keep
order and will help you to save time in caring for your room.
It is not in good taste to have many pictures and party favors
FIG. 107.
f
stuck around the mirror. They get soiled, make the dresser
hard to dust, and have an untidy, cluttered appearance.
One thing which gives the top of the dresser a most untidy
appearance is the hairbrush or comb that is left full of hair
combings. What do you think is the most satisfactory way of
disposing of combings? Do you have a convenient arrange-
ment in your room for doing this? If brushes and combs are
left on top of the dresser all the time they are sure to collect
dust. For this reason many people keep their brushes and
combs in the dresser drawer.
What do you think are the necessary things to keep on top
of your dresser? When you are planning the arrangement for the
top of your dresser remember to have only those things which
are necessary and are not harmed by dust. If you are sharing
your dresser with your sister you will have to work out a plan
with her. It would not be fair for one girl to have unnecessary
YOUR MORNING SCHEDULE 205
things on the top of the dresser which give it a cluttered appear-
ance and make it hard to clean.
Other places in your room as well as the top of your dresser
may become cluttered and untidy looking. Is the top of your
desk or table littered with old papers or books that you do not
use? Are there things on the top of the table that should
be kept in drawers or boxes? What other places in your room
may be in disorder and full of unnecessary things?
Something to Do. — Draw a plan showing what you think is
a good arrangement for the top of your dresser or table.
Your Morning Schedule. — Every girl who does her share
in keeping house will leave her room in order when she leaves
for school in the morning. In the hurry to get away to school
sometimes it seems as though there were hardly time to do this.
A well worked out schedule for the things you have to do before
leaving the house in the morning will help to solve this prob-
lem. Answering the following questions may help you to work
out a schedule that will enable you to save time.
1. Do you make needless trips back and forth across the
room and up and down stairs? Remember to " make
your head save your heels."
2. How many minutes does it take you in the morning to
put your room in order and to make the bed? Can
you think of any way of cutting down this time?
3. Did you hang up your clothing the night before and leave
things in order so that there are no unnecessary things
to do in the morning?
4. Have you planned exactly which things to do before
breakfast and which things to do after breakfast so
that you will not waste any time?
5. If you share your room with a sister do you have a clear
understanding with her as to the duties of each? Do
you each do certain things every morning? Do you
take turns at putting the room in order by the day or
by the week?
206 YOUR SHARE IN HELPING TO KEEP HOUSE
Something to Do. — Make a time record showing how you
spend your time in the morning before you go to school. Record
the things which you do in the morning in the order in which
you perform them. Ask at least two other girls to examine
your time record and try to suggest ways in which you can save
time. Do you plan your duties in the morning so as to do them
in the least possible time? Do you do as much in the morning
as it is possible for you to do in helping to keep house? Do you
think it is fair for you to take care of your own interests only
and rush off to school?
After you have had your schedule criticized, experiment
every morning until you have worked out the most satisfactory
schedule.
The Weekly Cleaning. — You will find that if you have
followed the daily practice of keeping your room in order it is
much less of a task to clean it each week. There will be no shoes
on the floor, no clothes to pick up, and no litter on the dresser.
First of all, we should be properly dressed before we prepare to
give a room a thorough cleaning. Our clothing should be of a
type that permits us to have perfect freedom of movement. If
a dress has a tight skirt or long, tight sleeves, it is sure to hinder
us in doing quick and thorough work. Dresses that we are
afraid of soiling are also apt to interfere with doing good work.
What kind of dress do you think is most suitable when you are
doing the weekly cleaning? Some girls prefer an apron dress
made of wash material. Other girls like to wear knickers or
bloomers and middies while they are doing their cleaning. When
you are sweeping your room you should plan to wear something
over your head so as to keep your hair clean.
Experienced housewives usually have a general order of
procedure in cleaning bedrooms. If you follow this plan in
cleaning your room you will probably find that it helps you to
do it quickly and thoroughly.
1. You will change the bed linen, turn the mattress and air
the bed thoroughly on the day that you do the weekly
THE WEEKLY CLEANING 207
cleaning. Plan your work so that the bed will have
time to air be j 'ore you are ready to begin the cleaning.
2. Remember to bring all the tools that you will need, such
as the broom, dustpan, dustcloth and mop before you
begin the cleaning. This is another way to " make
your head save your heels." If you forget something
you must waste time going after it.
3. Making the bed is the first thing to do when you are
ready to begin the cleaning of the room. Why is it best
to make the bed before doing the sweeping and dust-
ing? Remember to turn up the covers if they hang
down near the floor. Otherwise they will be in the
way when you sweep.
4. The next thing is to dust the bureau and table or desk.
Then cover them with a cloth so that they will not get
dusty while you are sweeping. Why is it best to do
this preliminary dusting before doing the sweeping?
5. Cleaning the rug and floor are generally done next. If
you have a carpet sweeper or a vacuum cleaner, of
course you will use it to clean the rug. If you clean
your rug with a broom you will be able to do it more
quickly and thoroughly if you keep certain things in
mind while you are sweeping. First, if there is a draft
from the open window you should take care to sweep
in the same direction. Why will this save you time
and trouble? Second, avoid using the broom so as
to throw dust up into the air unnecessarily. You will
be able to understand the correct stroke in sweeping
more easily if you see it demonstrated. If there is a
broom in your classroom someone who knows how can
demonstrate sweeping. Watch the stroke of the broom
and see if you can tell just when the stroke should
stop so as to avoid throwing the dust into the air.
Third, you should remember to use different strokes
when you are sweeping a bare floor and a rug, and
208 YOUR SHARE IN HELPING TO KEEP HOUSE
notice the different strokes used. What difference do
you see in the stroke? What would happen if you
swept the bare floor with the same stroke that you use
in sweeping a rug? Fourth, another way to avoid rais-
ing a dust is to scatter damp tea leaves or damp bits of
paper on the floor. These prevent the dust from flying
into the air. Sometimes the broom itself is dampened
and the water shaken out. However, if the water is not
shaken out thoroughly it mixes with the dust and
makes mud, which is injurious to the carpet or floor.
In sweeping a bare floor it is often satisfactory to cover
the broom with a cloth bag made of some material such
as cotton flannel.
6. After the floor has been cleaned, and the dust has settled
it is time to dust the furniture, woodwork, doors and
windows. Do you think it will be better to use the
dustcloth by flapping it around over the furniture and
woodwork or with a wiping motion which gathers up
the dust? Which of these ways would scatter the dust
back into the room again? Cheesecloth is excellent for
a dustcloth. Some people find it helpful to wring out
the duster in a quart of very hot water to which a
tablespoonful of kerosene has been added. This makes
what we call a dustless duster, causing the dust to stick
to the cloth instead of being scattered into the air.
Another solution to use in making a dustless duster is:
One tablespoon of cottonseed or linseed oil in about
a pint of gasoline. The duster should be hung out in
the air until the gasoline has evaporated. CAUTION:
GASOLINE is INFLAMMABLE AND SHOULD NOT BE USED
IN A ROOM WHERE THERE IS A FLAME OF ANY KIND.
This dustless duster is as satisfactory as the commer-
cial dustless dustcloths. If this duster is used on wall-
paper it will leave a mark, but it is satisfactory for
wood surfaces.
WASHING WINDOWS AND MIRRORS 209
7. The last step in the general procedure of cleaning your
room is to use the dust mop on the bare floor. This
should be for the purpose of removing the light coating
of dust and polishing the floor. The mop should never
be used in place of the broom because it rubs the grit
into the floor, spoiling the surface of the floor.
Inspecting Your Own Work After You Have Cleaned Your
Room. — After you have finished your weekly cleaning answer
the following questions and see if you can find ways of improv-
ing your work the next week.
1. Did you remember to clean the floor of the closet at the
same time you cleaned the floor of the room?
2. Did you remember to clean the floor under the large
pieces of furniture that you could not move?
3. Did you remember to run the dust mop under the edges
of the rugs?
4. Were you careful to dispose of the dust properly that
you swept up?
5. Did you remember to dust the window sills, frame of the
mirror and the lower part of the bed?
6. Did you remember to clean under the radiator?
7. Can you think of any way in which you can save time
next week and yet do as thorough a piece of cleaning?
Washing Windows and Mirrors. — Sometimes when you
are cleaning your room you will notice that the mirror and win-
dows need to be washed. Generally we use soap when we are
trying to wash things clean. But if you use soap when you wash
a window you will find it difficult to make the window look clear
and bright. This is because the soap leaves a film on the win-
dow that is hard to remove. Clear water with a few drops of
ammonia or water with a little washing soda (a tablespoon to a
pail) is good for cleaning windows. The window can be rubbed
dry with either cloth or paper. But whatever material you
choose, it should not leave lint on the glass. Some people like
to use chamois because it does not leave any lint. Of course,
210 YOUR SHARE IN HELPING TO KEEP HOUSE
a mirror can be cleaned in the same way as a window. But
particular care must be taken to prevent the water from getting
in behind the mirror as it will injure the quicksilver. This is
something to remember when you are washing your hand mirror
as well as the mirror on your dresser.
How to Get Rid of Bedbugs. — Sometimes it may happen
that you will be unfortunate enough to find bedbugs in your
room. There are various ways in which these repulsive pests
may be brought into the house. They may be brought in with
the laundry or they may get into your clothing when you are
riding on the street cars or trains. No amount of trouble is too
great in ridding your house of these pests, because they cause
great annoyance and help to spread disease. When the first
bedbug is discovered, the housewife should take great pains to
clean the bed and room thoroughly, because within a few days
the one bedbug may have produced many more. Bedbugs re-
produce very rapidly and, of course, the more there are the more
difficult it is to get rid of them.
One way of exterminating bedbugs is to wash the bed and
springs with boiling water, which kills both the bugs and the
eggs. Another way is to put kerosene, gasoline, or benzine on
the surface of the bed, especially in the cracks and crevices.
CAUTION: GASOLINE OR BENZINE SHOULD NEVER BE USED IN A
ROOM WITH AN OPEN FLAME BECAUSE THEY ARE EXPLOSIVE.
This method does not destroy the eggs, although it kills the
bugs. There are various commercial powders that are sold for
the purpose of exterminating these pests. Whatever means one
takes of exterminating bedbugs, one must remember that one
application is not enough. Eggs may hatch out after the live
bugs are all killed. One indication that these bugs are about is
the tiny, brown specks on the sheets and bed clothing. Every
good housewife has a watchful eye upon her beds to see that
by no chance these loathsome pests secure a foothold in the
house.
HOUSEKEEPING SCORE CARD
211
Housekeeping Score Card. — Make a score card similar to
the one given below and take it home. Ask your mother to in-
spect your room daily and make a report about your housekeep-
Name
Daily cleaning
Points
S.
M.
T. "
W.
Th.
F.
S.
Bed.
IO
Dresser top .... ...
IO
Shoes
5
Clothes
=;
Bureau drawer
10
Outside wraps.
IO
Totals
5°
Weekly cleaning
Thorough airing
10
Floor of room
IO
Floor of closet.
IO
Dusting
10
Putting tools away
10
Totals
5°
Inspector
Date
ing on this score card. All the girls in the class should bring
their cards to school on the same day and compare their reports.
YOUR SHARE IN HELPING TO KEEP HOUSE
The score card shows the number of points that you will
receive if you make a perfect score in making your bed, keeping
the top of your dresser in order, in taking care of the other
things in your room and in hanging up your outside wraps. If
you only make your bed half as well as your mother thinks
you should she will give you 5 points instead of 10. If you make
a perfect score in everything you will have a total of 50 points
every day. If you make a perfect score on your weekly cleaning
you will have 50 points.
Why Is It Worth While to Keep Your Room in Order?
— You might make a list of the reasons why you think it is
worth while for you to keep your room in order. Among these
reasons you would probably say that it is more sanitary and
healthful to keep your room clean and orderly. You would also
say that it saves time when you are in a hurry. It is also an
opportunity for you to do your share in helping to keep house.
There is another reason why it is worth while for you to
keep your room in order that you may not have thought of.
Imagine that you are in a room where everything is in disorder,
the bed is not made, the covers are trailing on the dusty floor,
clothing has been left hanging on chairs and in heaps on the
floor, the dresser is littered with handkerchiefs, ties and other
articles, the window curtains are soiled and crooked. Now
imagine that you pass into another room. In this room the bed
is nicely made with clean linens, the curtains hang fresh and
straight at the windows, clothing is hung neatly in the closet or
put away in the bureau drawers, the top of the dresser and table
have been dusted and arranged neatly, and there is not a speck
of dust to be seen in the whole room. In which of these rooms
would you like to spend an afternoon reading and sewing? It
is easy to answer this question because, of course, you will
choose the room that is clean and orderly. Why is it that we
prefer to be in a clean and orderly place? Do you ever feel dis-
turbed and confused when you are in a place that is torn up and
disorderly? Do you not feel happier when your room is clean
YOUR SHARE IN CARING FOR OTHER ROOMS 213
and in order? Any room whether it is simply or handsomely
furnished, must be clean and orderly if it is to be truly attrac-
tive and beautiful. This is surely another reason for keeping
your room clean and in good order.
A Report for Your Next Lesson. — Make a list of changes
you have made in the way you care for your room :
1. What you have done to increase your speed in caring for
your room.
2. What you have done to arrange things more conveniently.
3 . What you have done to prevent cluttering your room with
unnecessary things.
4. What changes have you made in your weekly cleaning?
Be ready to report at your next lesson.
YOUR SHARE IN CARING FOR OTHER ROOMS
What other things do you do as your share of housekeeping
besides taking care of your own room? Every thinking girl
realizes that it is her responsibility to do a share of the house-
keeping. In any good business organization every member of
the firm has certain responsibilities and certain duties. In
some respects the problem of home-making is like a well organ-
ized business. In this business of housekeeping it is important
that every member of the family have particular responsibilities
and duties. These may consist in furnishing money for the run-
ning of the household, planning or managing various household
activities and in performing the various tasks that are neces-
sary. In what way do you share responsibility in the house-
keeping? It is only fair that you should contribute your share
in doing the necessary things for the home. You probably can
make the most helpful contribution by performing such tasks as
running errands, washing dishes and caring for other rooms in
the house besides your own room.
Something to Do. — 1. Make a list showing what things you
have done in the past week.
214 YOUR SHARE IN HELPING TO KEEP HOUSE
2. Do you have a regular schedule of tasks that you are ex-
pected to do every week? Make a schedule showing
what you do each day in the week. Record the num-
ber of minutes or hours that you spend each week in
helping with the housework.
Something to Think About. — Do you do only the things that
you are asked to do in helping at home? Do you think to offer
to do extra things so that your mother may have a little rest
or pleasure? Do you do your share of work willingly and
pleasantly? Do you have to be reminded constantly of your
responsibilities?
A Plan for Cleaning. — Just as you saved time in making
your bed and keeping your room in order, you can save time in
FIG. 108.
cleaning and caring for other rooms. The most important thing
is to have a plan for doing your work so that you eliminate need-
less steps and motions.
One plan in Fig. 108 shows the trail of a girl who spent all
of her Saturday morning cleaning four bedrooms. Try to fol-
CARING FOR THE BATHROOM
low her trail. The other plan shows the trail of a girl who " used
her head to save her heels " and finished her Saturday morning
cleaning in time to go and play tennis before lunch.
Sometimes it is better when cleaning several rooms to do
the sweeping in all the rooms, and then the dusting in all the
rooms, and sometimes it is better to dust, sweep and finish each
room as you go. Try different ways of doing your cleaning and
find the quickest way of doing your work. Each girl should
report to the class on what she has done with her problem.
Your Responsibility for Putting Things in Their Places.
—If you always put your things in their places it is sure to save
you time when you are in a hurry. You know where to find
your things when you need them. Yet there is another reason
for putting your things away instead of dropping them around
the living-room or dining-room, or any place that you happen
to be. Do you think that you have any right to leave your
things around rooms that are used by other members of your
family? Do you think it is considerate for you to leave your
things for other people to pick up? Certainly every thoughtful
girl realizes that it is her responsibility to put her own things
where they belong. „
Caring for the Bathroom. — Cleaning the bathroom is dif-
ferent from the
cleaning of other
rooms in that
there is one kind of
cleaning that is
particularly impor-
tant. It is in the
bathroom that the
matter of sanita-
tion and health
must be especially
emphasized. Since
FIG. 109.
216 YOUR SHARE IN HELPING TO KEEP HOUSE
it is a room which every member of the family uses, every
member of the family must help to keep it orderly and clean.
Can you tell how many people there are in the family that
uses the bathroom shown in Fig. 109? Each member of this
family has his or her own towel, wash cloth, and drinking glass.
This shows that they realize it is hygienic to have individual
things in the bathroom. You will notice that all the towels are
clean and hung up neatly. Every member of this family does his
or her share in helping to keep the bathroom orderly. Do you
think it is considerate to wipe your hands on a towel before you
have washed them clean?
A bathroom that appears quite clean and orderly may not
be sanitary. We know that diseases are spread by means of
bacteria and germs which are too small to be seen. Bacteria and
germs may be present on the surfaces of the bathtub, closet,
and lavatory. These surfaces should be kept so clean that there
is no chance for bacteria to remain upon them. This means that
every member of the family should be continually on the alert to
do his share. The bathtub and lavatory should always be
cleaned immediately after using.
Cleaning the Bathtub and Lavatory. — A brush or cloth
should always be kept in a convenient place in the bathroom for
cleaning the tub and lavatory. This brush or cloth should be
used for this purpose only. Powdered cleaners are much used
for cleansing purposes. Coarse powdered cleansers sometimes
scratch the enamel. This frequently happens even though ap-
parently no harm has been done. These tiny scratches make an
excellent lodging place for germs and bacteria that are hard to
remove. Eventually the surface of the enamel becomes rough
and therefore more difficult to clean. Fine powdered cleaners
are likely to collect in the drain pipes and trap. This, however,
can be avoided if plenty of water is flushed through the pipes
immediately after using the powder, and one should be careful
not to use more powder than is really necessary. Soft, flaky,
powdered cleaners are probably most desirable for cleaning the
THE FLOORS AND WALLS IN THE BATHROOM 217
bathtub, because they will not scratch and will dissolve in water,
therefore not clogging the drain. At all times it is important
that enough clean water should be run through the pipes so that
dirty water does not stand in the trap.
Many housewives find that kerosene is a good cleaner to use
in the bathtub and lavatory. It will in no way injure the enamel
surfaces and removes the dirt easily. Some people object to it
because of the odor, although this soon disappears. It is neces-
sary to use hot water FIG. no.
and soap after using
the kerosene in order
to remove the film of
oil from the surface.
Other housewives
prefer to use a naph-
tha soap with hot
water, which also re-
moves dirt easily.
A very helpful de-
vice in cleaning a
bathtub is the rubber tube which can be attached to the bath-
tub fixture. The picture in Fig. 110 shows how this device can
be used to rinse out the bathtub.
Cleaning the Toilet. — A long-handled brush is a necessary
tool for cleaning the closet or toilet. Occasionally some cleaning
preparation must be used to remove the stain or discoloration
that appears in the bowl of the closet. Great care should be
taken by all members of the family never to throw refuse into
the closet. Even small articles, such as cigarette stubs, burnt
matches or hair may cause serious stoppage of the pipes. Nor
should coarse, stiff paper be put down the toilet because it does
not disintegrate as quickly as soft paper.
The Floors and Walls in the Bathroom. — If the bath-
room has a tiled floor it can be cleaned in just the same way as
218 YOUR SHARE IN HELPING TO KEEP HOUSE
the tub and lavatory. If the walls and floors are finished with
enamel paint they can be cleaned by washing them with warm
water and soap. Surfaces should be finished with waterproof
varnish or with paint that is not harmed by water. Sometimes
bathroom walls are finished with calcimine, which spots easily
with water and can not be cleaned except by washing it off and
putting on a new coat of calcimine. Do you think such a finish
as calcimine is really suitable for use in a bathroom? Surely
in such a room where hygiene is so important it should be pos-
sible to clean everything with soap and water.
Suggestions for Home Projects. — Each girl should select
a definite thing to work out at home. Some girls may wish to
undertake the cleaning of the bathroom, others may assume re-
sponsibility for cleaning the living-room, dining-room or other
rooms, others may make a project out of caring for their own
things and putting them away. Or do you not think you might
make a project of being cheerful and willing? Sometimes the
most difficult project is to attempt to do things with a good
spirit, to remember without being reminded and to take sugges-
tions or criticisms kindly.
Arrange a day when each girl will report on her home pro-
ject. Devise some way of making a report that will include the
amount of time you spend and how successful you have been.
YOUR SHARE OF HOUSEKEEPING IN THE COMMUNITY
Have you ever thought what your responsibility is for order
and cleanliness in your school and your neighborhood? Do you
ever do things at school that you would not do in your own
home? Do you throw paper on the floor in your classrooms or
in the corridors? Do you scatter paper along the streets on
your way home from school? You would not do this in your
own room because you would have to pick it up yourself.
Who do you think should be responsible for taking care of it
in other places?
Do you mark on the walls and furniture of your school
DUST AND SMOKE IN YOUR COMMUNITY £19
buildings? Would you think it right for someone to come into
your room at home and mark on the walls or scratch the furni-
ture? What do you think is your responsibility in helping to
keep the walls and furniture of your room in good condition?
Every girl has a share of responsibility in keeping house at
school just as she has at home.
A Housekeeping Project at School. — Discuss in class the
things which you believe to be your share of housekeeping in
your school. Make a list of things which every girl can do to
keep good housekeeping standards in the corridors, the class-
rooms and the toilet rooms. Keep a record of the things that
you do for the next two weeks and write a report about them.
Alleys and Backyards. — Your housekeeping duties do not
end with your school or at the back door of your home. Is it
not hard to believe that an untidy backyard can belong to a
clean and orderly house? What do you think you can do to
improve the conditions in your backyard and alley? Did you
ever help in a Clean-Up-Week campaign? The modern house-
keeper feels that it is her duty to see that garbage is properly
disposed of, that ashes and other rubbish are carried away and
that papers are not permitted to blow about.
Dust and Smoke in Your Community. — Why is it neces-
sary to have more frequent cleaning and laundering of clothes
and household furnishings in some communities than in others?
The dust that pours into your home from dusty streets and
roads and the smoke from chimneys and railroads cause endless
cleaning and laundering. It is expensive not only in time and
labor, but requires the additional expenditure of money to pur-
chase new garments and furnishings oftener than is otherwise
necessary. The thoughtful housekeeper makes it her business
to see that smoke and dust nuisances are eliminated from her
neighborhood. When all the housekeepers of a community join
forces to control dust and smoke nuisances, they attack the
housekeeping problem in the most effective way. Dusty streets
can be oiled, thus preventing great quantities of dust from fly-
220 YOUR SHARE IN HELPING TO KEEP HOUSE
ing through the air. Smoke can also be controlled in various
ways, for example, there are smoke-burning devices which fac-
tories can install. Is there any need in your community to
have smoke better controlled? Do you know of any efforts by
citizens in your community to control the smoke?
Mosquitoes. — Good housekeepers, of course, try to keep
their houses free from flies and mosquitoes. They have screens
made for their windows and continue to " swat the fly." But an
intelligent housekeeper realizes that she can do something to
prevent mosquitoes from breeding. A certain species of the
mosquito carries the malarial germ and another species, now
practically eradicated from the United States, carries the germ
of the deadly yellow fever. They breed in stagnant water found
in swamps, roadside ditches, rain barrels, ponds and old tin
cans. The mosquito lays eggs on the surface of the water.
Therefore, the important thing in preventing the breeding of
mosquitoes is to drain off all stagnant water from ponds and
other places, or if this is impossible to cover the water with
kerosene oil about every two weeks.
1. Do you know any places in your neighborhood that may
be breeding places for mosquitoes?
2. Do you know of any effort on the part of citizens to pre-
vent mosquitoes from breeding?
CHECK-UP ON THE HYGIENE OF HOUSEKEEPING
Hygiene is the science of the preservation of health, and
hygienic housekeeping means keeping house so as to secure
healthful living conditions. Can you answer these questions
on hygienic housekeeping without looking up the answers?
1. State two ways in which you would keep your bed in a
hygienic condition.
2. How does the weekly cleaning contribute to the hygienic
condition of your room?
3. What hygienic reason can you give for keeping a closet
floor clean?
ECONOMY OF TIME IN HOUSEKEEPING 221
4. In what room is family cooperation especially necessary
for hygienic living conditions?
5. Why is it important that the surfaces of the bathtub and
lavatory be kept thoroughly clean?
6. What is the duty of every member of the family in keep-
ing the bathtub and lavatory clean?
7. How can the use of coarse cleaning powders make the
bathtub unhygienic?
8. Why should each member of the family have an individual
towel and "drinking cup?
9. What responsibility does the housekeeper .have in securing
hygienic conditions in the community?
10. How does living in a clean community help make it pos-
sible to keep your home hygienic?
11. What health ordinances are there in your town which
make for hygienic living conditions?
12. Suggest what you personally can promise to do to help
hygienic conditions in your school.
13. Why should the housekeeper be concerned with eliminat-
ing breeding places for flies and mosquitoes?
CHECK-UP ON ECONOMY OF TIME IN HOUSEKEEPING
Can you answer these questions about how to save time in
housekeeping?
1 . List three things that help to save time while making a bed.
2. Why does it pay in taking care of your own room to plan
very carefully to have convenient places for keeping
things?
3. What habit will help you to save most time in daily and
weekly cleaning?
4. Describe a procedure that you believe would be economical
of time in cleaning four rooms.
5. How does the cooperation of the family save time for the
housekeeper?
222 YOUR SHARE IN HELPING TO KEEP HOUSE
6. Suggest three ways in which the control of dust and smoke
in the community saves time for the housekeeper.
INTERESTING THINGS TO READ
There are several topics suggested in this chapter about
which there are many interesting things to read. Some of the
books in which you will find these things are listed below.
Speed in Household Tasks
1. The New Housekeeping. Christine Frederick. Doubleday, Page
and Company. Ch. II, pp. 23-45.
2. Household Engineering. Christine Frederick. American School
of Home Economics, Ch. IV, pp. 145-155.
3. Successful Family Life on the Moderate Income. Mary Hinman
Abel. J. B. Lippincott Company, Ch. IX.
Methods of Cleaning
1. Housewifery. L. Ray Balderston. J. B. Lippincott Company,
Ch. IX, pp. 240-272.
2. Household Arts for Home and School. Anna M. Cooley and
Wilhelmina Spohr. Vol. II. The Macmillan Company, Ch. Ill,
pp. 130-146.
Household Pests and How to Get Rid of Them
1. Everyday Problems in Science. Charles J. Pieper and Wilbur
L. Beauchamp. Scott, Foresman and Company, pp. 203-204,
218-220.
2. The Home and the Family. Helen Kinne and A. M. Cooley. The
Macmillan Company, Ch. III. pp. 148-160.
3. " Adventures in Mosquito Control." Hygeia. J. A. LePrince,
May, 1925, p. 225.
Community Hygiene
1. Health in Home and Neighborhood. Maurice A. Bigelow and
Jean Broadhurst. Silver, Burdett and Company, Ch. VIII,
pp. 285-315.
2. Good Neighbors. Mary S. Haviland. J. B. Lippincott Company.
CHAPTER XI
CARING FOR CLOTHING AS PART OF YOUR
HOUSEKEEPING
HAVE you ever noticed how much time your mother spends
in taking care of the clothing that belongs to the different mem-
bers of your family? When you were a very little girl someone
had to take care of your clothing for you. Now that you are
growing up how much of this can you do for yourself? Are
you careful to hang up your clothing and to brush it frequently?
Do you know how to take care of your shoes and stockings?
Can you remove spots and stains from your clothing? Do you
know how to put your woolen clothes away in the summer so
that they will not be ruined by moths? Do you 'understand the
process of laundering so that you can be an intelligent helper?
If your clothes are done at a laundry, are you able to judge if
they are well laundered or not? This chapter will tell you
some things that will help you to take your share of responsi-
bility in caring for your clothing.
EVERYDAY CARE OF CLOTHING
Why Is It Worth While to Give Our Clothing Good
Care? — It once happened that a girl who was ordinarily very
careless in her personal appearance was applying for a position
that she wished very much to obtain. She had dressed very
carefully. Her clothes were well brushed, her shoes were
shined, and her collar and cuffs were freshly laundered. Her
appearance made a good impression on her prospective em-
ployer and he told her that he would write to her within a few
days. Instead of this he came to tell her that she could have
the job. She was not expecting him and was as carelessly
dressed as usual. Her dress was dusty and needed pressing, her
15 223
CARING FOR CLOTHING
FIG. in.
collar and cuffs were soiled and she had forgotten to sew on some
missing buttons. Her appearance was so different that at first
he could not believe it was the same girl. When he realized
that this was the way she usually appeared, he hastily changed
his mind and told her that he did not think she would do for
the position.
It is easy for us to see why it would have been worth while
for the girl in the story to give her clothing daily care. Even
though we are not trying to obtain a position, there are other
reasons for taking good care of our clothing. For example, it
makes our clothing more hygienic,
it makes it last longer and it makes
our personal appearance more
attractive. Discuss these three rea-
sons for giving everyday care to our
clothing. Before you read the fol-
lowing paragraphs make a list of
the things which you think should
be included in the daily care of
clothing.
Why It Is Important to Use
Clothes Hangers. — The two
dresses in Fig. Ill have been hung
up for the night. If they are hung
this way every night which dress
would you expect to be wrinkled
and pulled out of shape? Do you
think it is good economy to buy a
five-cent coat hanger or to spoil your dress by hanging it over
a hook? A coat, dress or sweater may be ruined by hanging
it on a hook, because the hook may actually punch a hole
through the garment. Wherever it is possible great care
should be taken to hang clothes on hangers. Many a girl
has used a home-made hanger, contrived out of a piece of
broomstick about fifteen or sixteen inches long with its ends
HOW TO CARE FOR YOUK SHOES 225
well smoothed and a stout cord tied to its center to suspend
it from a closet pole or hook. A tightly rolled newspaper may
be used in place of the broomstick as a temporary hanger.
Brushing and Airing Your Clothing. — Clothes often look
old and dingy when they are full of dust and covered with lint.
Since brushing is such a quick and easy thing to do it seems as
though no one would fail to do it. Sometimes a clothes brush
kept in a convenient place helps us to remember to brush our
clothing every morning. How many whiskbrooms or clothes
brushes should a household have and where should they be lo-
cated so as to be most convenient? Occasionally the clothing
should have a more thorough brushing. Why should this be
done outdoors? A really thorough brushing should include
brushing under collars and plaits, in seams and inside of pockets.
After the clothes have been thoroughly brushed, it is a good plan
to leave them hanging in the open air for several hours. Why
are brushing and airing a means of keeping our clothing
hygienic?
Pressing Helps to Keep Your Clothes in Good Condi-
tion.— Often garments can be made to look new and fresh if we
take the trouble to press them. Woolen garments should be
pressed on the wrong side because to press them on the right
side makes them shiny. First, place a damp cloth over the gar-
ment and pass the hot iron over it. This steams the fabric,
making it easy to press out the wrinkles. If there are parts of
the garment that can not be pressed on the wrong side, the
pressing can be completed on the right side, but you must be
sure to leave the pressing cloth on the garment until you have
finished the pressing. Have you ever seen a garment that looked
old and crumpled, look almost new after a thorough brushing
and pressing?
How to Care for Your Shoes. — Giving shoes proper care
not only makes them look better but makes them last longer.
Shoes should be kept polished because it protects them from
moisture and keeps them looking well. It is easy to see that the
226
CARING FOR CLOTHING
FIG. 112.
two shoes in Fig. 112 have been given different care. Can you
tell why one of the shoes in the picture has kept its shape and
looks more like a new shoe? When shoes are not being worn
they should be kept in shape
with shoe trees. This is par-
ticularly important if shoes are
damp when they are taken off.
If you do not have shoe trees,
the toes of the shoes may be
stuffed with wads of paper.
Drying shoes on a hot radiator
or stove is injurious to leather,
causing it to rot and break. Well cared for shoes are never
permitted to have runover and crooked heels. It is not only
untidy looking but is injurious to health in that it causes an
unnatural standing position and makes walking or running
difficult. One good rule is to have shoe repairs made as soon
as any break appears or the heel begins to show wear. Another
good shoe rule is to polish shoes every night when you take
them off, rather than postponing until
the morning rush time. What equip-
ment do you need for an individual
shoecaring outfit? Where does the class
think it should be kept? When shoes
are not being worn they can be kept
free from dust by keeping them in a
shoe bag. Fig. 113 shows a convenient
bag that can be hung on the closet door
or on the wall in the closet.
Improving Your Own Habits of Car-
ing for Your Clothing. — To what extent
do you assume the responsibility of caring for your own
clothing? Are you careless about polishing your shoes,
brushing your coats, dresses and hats and sewing on but-
FIG. 113.
HOW TO CARE FOR YOUR STOCKINGS
tons? Do you have to be reminded of these things or does
someone have to do it for you? Discuss with the class what a
girl of your age ought to do with respect to caring for her
clothing. What daily habits should she have? What things
should she do every week or occasionally? Make a list of rules
about the care of your own clothing. At the end of the next
two weeks every girl should make a report to the class on what
she has done with regard to caring for her clothing. This report
should include a statement of what daily habits she has started
to form.
HOW TO PATCH AND DARN
How to Care for Your Stockings. — It will not be neces-
sary to mend our stockings so frequently if we take good care
of them. For example, perspiration from the feet sometimes
causes the threads in your stockings to weaken and wear
through sooner than is necessary if the stockings are properly
cared for. They should be washed frequently in order to re-
move the perspiration. Some girls wash their stockings every
night. The girl who is careful of her appearance watches to
see that there are no holes or " runs " in her stockings. Why
should a broken thread in the leg of the stocking be mended as
soon as possible? If by accident, a " run " is permitted to go
the length of the stocking, turn the stocking wrong side out and
catch the edges of the run together with small stitches. Be
sure to catch the loop at the end of the " run " to prevent fur-
ther " running."
There are other ways to prevent stockings from wearing out
too rapidly. First, select stockings that are durable and will
wear well. It is desirable to select stockings that are reinforced
at the heel and toe because this is where the holes generally
first appear. Second, stockings should be long enough in the
foot. Third, watch out for rough places and nails on the inside
of the shoes. A new leather surface at the heel of the shoe put
in by the repair man may save darning. Fourth, toe nails that
228
CARING FOR CLOTHING
are too long may punch holes in the stockings. Fifth, when
putting a stocking on do not merely take hold of the top of the
stocking and push your foot down through it. It is better to
gather the leg of the stocking and hold it in your fingers so that
your foot can be pushed directly into the foot of the stocking.
The best way to mend holes in the foot of the stocking is to
watch for danger signals and mend the thin places before the
hole appears. " A stitch in time saves nine, and sometimes
ninety-nine." It is not always worth while to mend a stocking
after the heel and toe have become very much worn because
the stocking will not last long enough to pay for the trouble of
mending it. You must learn to judge when it is best to mend
and when not to mend.
Stocking Day at School. — For your next lesson bring to
school a stocking that needs mending, also a darner, darning
FIG. 114.
needle and darning cotton. Study the following directions and
pictures in Fig. 114 before beginning to darn your stocking.
1. The thread should match the color of the stocking and
. not be too heavy for the stocking.
2. There should be no knot at the end of the thread. Begin
by taking a few stitches and drawing the thread
through the cloth so that only a tiny end is left out.
OTHER USES FOR DARNING 229
3. The darning stitch is made so that the thread goes in and
out of the cloth as shown in Picture 1, Fig. 114. The
threads should be drawn back and forth across the
hole as shown in the picture. Be sure to have them
extend far enough so that they will not pull out.
4. Make the stitches the other way of the cloth, weaving
your darning thread in and out so as to form a plain
weave through the hole. See Picture 2, Fig. 114.
5. In darning some people find it convenient to slip some-
thing hard and round inside of the stocking, a darner,
if you have one. Then you can pull the stocking
smooth over the darner and take your stitches more
easily. Other people prefer to slip their hand into the
stocking while they darn the hole.
7. Fasten the thread by simply cutting it off close to the
cloth. Darning may also be done on the sewing ma-
chine. If you have this darning attachment at home
or at school you should learn to use it.
Inspection of Your Darning. — Answer these questions about
your own work. Then ask someone else the same questions
about your work.
1. Is the darn thick and clumsy?
2. Does the darn extend far enough beyond the hole to take
in the worn part?
3. Are the threads pulled too tightly?
4. Is the thread woven in and out evenly?
5. Are you trying to increase your speed in darning? It is
important to be able to do one's darning as speedily as
possible.
Other Uses for Darning. — Suppose that instead of your
stocking it was your dress or coat that had a hole in it or was
accidentally torn. Can you see how these also might be mended
by darning? Have you ever seen your mother darn a hole
in a tablecloth? The stitch is exactly the same as you used in
darning your stocking. In choosing a thread to darn a hole in
230
CARING FOR CLOTHING
a wool dress, you would, of course, choose a thread that is the
same color as the dress, and you should also choose a thread
that is as nearly like the thread in the cloth as possible. Some-
times you can ravel some threads from a seam or hem of the
garment itself and use them to darn the hole in the dress. This
makes the darn less conspicuous than if you use a different kind
FIG. 115.
FIG. 116.
of thread. Another way to make the darn inconspicuous is to
take very small stitches. A third way to make the darn incon-
spicuous is to make the stitches go in the same direction as the
threads of the cloth. Can you see how this is done in Fig. 115?
How are the darns in Pictures 1 and 2 different from the darn in
Picture 3? Why is it necessary
for the darning stitches to cross
each other in the third tear?
Patching Is Another Way
to Mend Holes. — Sometimes we
wish to mend holes by putting on
patches instead of darning them.
Can you find out how to put on a
patch by studying pictures 1 to
6 in Fig. 116, and answering the
following questions? The right
side of the cloth is shown in color.
PATCHING TO MEND HOLES
231
1. Can you see why the patch pinned over the hole, as
shown in Picture 2, is cut so much larger than the hole
as shown in Picture 1 ?
2. Why is the patch pinned in place before it is basted on?
FIG. 116.
FIG. 116.
FIG. 116.
3. Picture 3 shows the right side. The hole has been cut
square and the edges turned in. Why is it important
to have the basting which holds these edges in place
come close to the edge? What
will have to be done at each
corner before the edges will
turn in?
4. In Picture 4 you are
looking at the wrong side of
the patch. What has been
done to the edges of the
patch? Why? What makes
the small square of stitches
in the middle?
5. In Picture 5 (wrong
side) the edges of patch have 4
been stitched down on machine and the basting threads
pulled out. If you should prefer to hem down the
1
1
1
1
1
1
1
1
1
1
f
1
1
1
CARING FOR CLOTHING
edges of the patch by hand with the hemming stitch
you can find out how to take the stitch on page 177.
When do you think it would be more satisfactory to
use the hemming stitch than to use machine stitch-
ing? Why?
6. How is the right side of the patch finished as shown in
Picture 6?
A Home Problem, — Who does the darning and mending in
your family? Whose duty is it to see that your clothes are
FIG. 116.
FIG. 116.
— _p.
— — I
! 1
1
1
1
1
1
I
1
1
_ J
mended? For the next two weeks consider that it is your prob-
lem to do as much of the family darning and mending as it is
possible for you to do. Make a written report of what you
have been able to accomplish. Bring your best piece of work
to school for criticism.
HOW TO REMOVE SPOTS AND STAINS FROM CLOTHING
It is most unfortunate and annoying to get a spot on a gar-
ment that is otherwise clean and new. It seems a pity to send
the garment to a cleaning establishment because it has one
small spot on it. We can learn simple methods of removing
REMOVE SPOTS AND STAINS FROM CLOTHING 233
spots so that it will not always be necessary to send our gar-
ments to the cleaner. Removing a spot is like solving a prob-
lem, because it depends on finding out what caused the spot,
what kind of material the garment is made of and the correct
method of removing the spot. Many people are not successful
when they attempt to remove spots because they do not con-
sider these things carefully and lack patience in working out
the problem.
1. What caused the spot? It makes it much easier to re-
move a spot if we know what caused it, because then
we can tell what is the best method to use. If we do
not know what caused the spot it makes it necessary to
experiment with different methods. Sometimes a
method that will remove one spot easily will set another
spot so that it can not be removed. It is also well to
remove spots and stains as soon as possible. A fresh
one is much easier to remove than an old one.
2. Is the material white or colored? It is much easier
to remove spots from white material than from colored
material because if the material is colored there is
danger of removing the color as well as the spot. Yet
even in colored material it is generally possible to re-
move spots if one has patience to work long and care-
fully. It is well to experiment on a small piece of
material or the edge of a seam when there is danger in
removing the color or otherwise injuring the fabric.
3. Of what fabric is the garment made? It is important to
know the kind of material from which you have to re-
move a spot as a method which will remove a spot
from cotton or linen may prove injurious to wool or
silk. For example, cotton and linen can be rubbed
more vigorously than wool or silk and are not injured
by boiling water.
234
CARING FOR CLOTHING
4. What is the best method to use? The method of remov-
ing a spot depends on the three things mentioned
above. In the table given below you will find some
methods of removing common stains. The success in
removing a stain depends to some extent on the manner
of application. Several short applications are better
than one long, continuous treatment. When applying
a liquid to a spot it is always best to rub from the out-
side toward the center because this prevents leaving a
ring in the fabric after the spot has been removed. It
also helps to place a pad of clean cloth or blotting
paper underneath the spot while you rub. Why do
you think this will be helpful?
Some Experiments for the Class to Do. — The class should
be divided into seven groups. Each group should experi-
ment in removing one of the stains given in the following table.
They should experiment with white and colored material and
with cotton, linen, wool and silk. A day should be arranged
when the committees will demonstrate removing stains. Each
girl should learn as much as possible at home and by reading
books. Sometimes the science teacher is willing to give help-
ful suggestions.
Cotton and Linen
Soap and warm
water will remove
spots.
GREASE Cotton and Linen Wool and Silk
Grease spots are re-
moved by rubbing
with a solvent
such as chloro-
form, carbon tetra-
chloride, commer-
cial cleaning fluids
sold under various
trade names, or
gasoline.
WARNING: GASOLINE is INFLAMMABLE AND SHOULD
BE KEPT AWAY FROM FIRE OR FLAME
REMOVE SPOTS AND STAINS FROM CLOTHING 235
FRUIT AND COFFEE
Cotton and Linen
Spread fabric over
bowl and pour
boiling water on
the spot from a
height. These
stains are removed
more easily when
fresh. They
should be removed
before the garment is washed, because boiling
sets the stain. Ammonia helps to remove the
stain but may also remove the color. If
ammonia is to be used it should be tested
on a hem or seam.
Wool and Silk
Use warm water as
boiling water
would injure the
fabric. A little
borax added to
the water helps to
remove the stain.
BLOOD
Cotton and Linen
Wool and Silk
set the stain and make it more difficult
to remove.
Soak in cold water Sponge in cold or
for several hours lukewarm water,
and then wash in
the usual way
with soap and
warm water. Am-
monia helps to re-
move old stains.
Hot water may
Hydrogen perox-
ide may be used
if it does not in-
jure the color.
A paste of raw
starch made with
cold water is good
on thick materials.
PAINT
Cotton and Linen
Sponge with turpen-
tine, benzine or
gasoline, while the
spot is fresh. If
the stain is old, a
mixture of chloro-
form and turpen-
tine will remove
the spot readily.
Wool and Silk
The same methods
can be used as for
cotton and linen.
236
CARING FOR CLOTHING
IRON RUST
Cotton and Linen
Wet the stain with
water and put a
few drops of oxalic
acid on it. Another
method is to wet
the spot with
lemon juice and
cover it with salt.
Then expose it to
sunlight and let it bleach. Wash the acid out
thoroughly with water, otherwise a hole or
weak spot may appear in the garment.
Wool and Silk
The same method
may be used.
WARNING: OXALIC ACID is POISON
INK
Cotton and Linen
Ink stains are diffi-
cult to remove be-
cause inks are
made from many
different sub-
stances. A fresh
ink stain can some-
times be washed
out in water. An-
other method is to soak ink spots in milk for
at least twenty-four hours, changing the milk
whenever it becomes discolored. Of course,
the milk leaves a grease spot. How should
this be removed?
Ink spots on white materials can be removed
by repeated applications of oxalic acid and
Javelle water, which can be bought at a drug
store. Ink eradicators are also effective.
These are not safe to use on colored mate-
rials, as they will remove the color.
Wool and Silk
Milk and water can
be used on wool
and silk, but the
other methods are
injurious.
THE DRY CLEANING OF GARMENTS 237
GRASS STAIN Cotton and Linen Wool and Silk
Ordinary laundering The same methods
with soap and can be used for
water removes wool and silk,
some grass stains.
Spots on materials
that can not be
laundered can be
removed by spong-
ing with alcohol.
Some Questions on Stains. — After the class has finished
demonstrating how to remove stains you should be able to an-
swer the following questions. If you can not answer these ques-
tions you can look for the answers in the table given on the
preceding pages.
1. List three things to be considered before attempting to
remove a spot.
2. Give two reasons why the use of boiling water may be
harmful.
3. Why do we generally not use gasoline or chloroform on
cotton or linen materials to remove grease spots?
4. List the spots that require special treatment if the mate-
rial is silk or wool.
5. What methods of removing spots can not be used on col-
ored goods?
A Home Problem. — Tell your mother what you have learned
about removing spots and stains. Ask her if you may try to
remove the spots on the table linen or clothing. Report to the
class what success you have.
THE DRY CLEANING OF GARMENTS
If a garment becomes much spotted and soiled it is useless
to try to clean it by this method of removing spots. If it is a
garment that can not be laundered, it must be cleaned by the
process called dry cleaning. This means that the garment must
238 CARING FOR CLOTHING
be cleaned in some substance such as gasoline or naphtha. It
may seem odd to call a process dry cleaning when a garment is
dipped and washed in a liquid. The difference between washing
in naphtha or gasoline and washing in water is that naphtha
or gasoline do not in any way alter the garment, whereas water
causes plaits to disappear, may shrink the fabric and may cause
the color to fade.
There are many dry-cleaning establishments where one can
send a garment to have it dry cleaned. Some people prefer to
send their garments to the dry cleaner because it seems difficult
to do it at home and because of the danger from fire and ex-
plosions. People often prefer to do their cleaning at home
because it is cheaper. However, if the dry cleaning is done at
home it is very essential when using naphtha or gasoline to take
every precaution against fire and explosions.
To Discuss in Class. — 1. Make a list on the blackboard of
think it is advisable to send garments to the dry
cleaners?
2. Try to arrange an excursion to a dry-cleaning establish-
ment so that you can see how they carry on their work.
3. Find out how much it would cost to send your school
dress to the dry cleaner's and how much it would cost
to clean it at home.
4. Why should you not expect naphtha or gasoline to re-
move all spots from a garment?
Something to Report on to Your Class. — 1. Make a list of
things that you have done this week to keep your
clothing in good condition. Are there more things
that you should have done?
2. On the average how many minutes are necessary each
day to keep your clothing in good condition?
3. Do you think it better to take a few minutes each day or
to take a longer time each week for these things?
A PLAN FOR YOUR STUDY OF LAUNDERING 239
4. How much time have you devoted to the care of clothing
for other members of your family?
WHAT YOU SHOULD KNOW ABOUT LAUNDERING
YOUR CLOTHES
It is needless to say that clean, well laundered clothing is
necessary if we are to be well dressed and attractive. You will
remember that soiled, untidy clothing was one reason that the
girl who wanted a position was not able to obtain it. Do you
not think it is every girl's responsibility to see that her own
clothing is clean and fresh? Even though most of your laundry
is done for you it may happen that it sometimes is necessary for
you to do an occasional piece yourself. In most families the
household work is planned so that all the family laundry is done
together and if the laundry is done at home it may be your
responsibility to help with it. In many families the laundry is
sent to the " wet wash " or returned " rough dry " and then
ironed at home. Consequently, it may be a girl's responsibility
to help with the ironing. In any case you will wish to know
something about proper methods of laundering.
To Discuss in Class. — 1. Make a list on the blackboard of
the ways in which the different girls in the class help
with the laundry. Are there any responsibilites for the
girls in homes where all the laundry is sent away to
be done?
2. Compare the different ways in which laundry is managed
in different homes. What advantages and what dis-
advantages can you see in each method of having laun-
dry done?
A Plan for Your Study of Laundering. — A good way to
learn about the laundering process is to see some one demon-
strate how it should be done and have each step explained so
that you will understand it. Ask your teacher to demonstrate
the proper method of washing and ironing two garments, one
white and one colored. If there is no laundry equipment in
16
240 CARING FOR CLOTHING
your school, you should be able to obtain some simple equip-
ment from the food laboratory or from someone's home.
Before you see the demonstration you should study the fol-
lowing paragraphs describing the different steps in the process
of laundering. This will help you to understand the demonstra-
tion. After you have read these paragraphs you should be able
to answer the following questions.
1. What are the different steps in the laundering process and
in what order do they occur?
2. What may cause the clothes to look yellow or gray in-
stead of pure white?
3. What should be done if it is necessary to use hard water?
4. What precautions should be taken with regard to the
temperature of the various rinse waters?
5. What part of the garment is ironed first?
Inspecting the Garment. — Before a garment has been
laundered it should be inspected to see if there are any spots
or any places to be mended. From what you have learned about
the removal of spots, do you think it would be better to do this
before or after laundering? Most people are careful to do cer-
tain kinds of mending before their clothes are laundered. For
example, a broken stitch in your knitted underwear or stocking
should be mended before laundering. Tears which might be-
come worse in the process of laundering should also be mended
before laundering. One generally prefers to mend the holes in
stockings and underwear after they have been laundered. Why?
Even though her laundry is sent away from home to be done, it
should be every girl's responsibility to inspect her own clothes
and see that they are ready for laundering.
Why it is Helpful to Soak a Garment. — If you help with
the family laundry at home it may be your share of the work to
put the clothes to soak. The soaking, of course, loosens the dirt
and makes it easier to wash them clean. Even in such a simple
process as soaking the clothes there are certain things to remem-
ber. If you should put a very dirty garment into a tub with the
WHY SHOULD CLOTHES BE BOILED? 241
other clothes it may cause all the garments to be muddy looking
after they have been laundered. Soaking clothes in hard water
may cause them to be gray or yellowish. Washing soda, am-
monia or borax will soften the water, but if too much washing
soda or ammonia is used it causes the clothes to be yellow rather
than pure white. What would happen if you should soak the
colored garments with the white garments?
Washing the Clothes. — No one would ever think of trying
to wash clothes without using soap. How would you have liked
to wash clothes in days before the use of soap was known? You
would have had to take the clothes to a stream and wash them,
pounding and beating them to knock the dirt out. We rub out
clothes on a washboard or let them rub together in a washing
machine in order to get the dirt out. But we also use soap,
which helps to loosen the dirt. On what parts of a garment
would you expect to put the most soap and do the most rubbing?
It is necessary to have good soapsuds in order to wash
clothes clean. It is more difficult to secure good suds when
using hard water. Often a scum forms on the water and the
clothes are covered with particles of dirt. If the water is soft-
ened by one of the agents mentioned before it is easier to make
good suds.
Some Questions to Answer. — 1. Find out why hard water
does not make good soapsuds.
2. WThy is it necessary to wring the water out of the clothes
before they are put into the boiler or the rinsing water?
3. Why is it worth while to put the clothes through the
wringer in a straight and orderly fashion instead of
putting them through in a haphazard way?
Why Should Clothes Be Boiled? — White cotton and linen
clothes can be boiled as an additional means of cleansing and
sterilizing them. When you are washing a single garment the
process of boiling is just the same as when the weekly washing
for the whole family is being done. Before the garment is put
into the water for boiling it should be carefully rinsed. Why
242 CARING FOR CLOTHING
is this necessary? After rinsing, the garment should be well
soaped and put into cold water. Heating the water gradually
will make the garment whiter than if it is plunged immediately
into boiling water. Be sure that there is a sufficient amount of
water to cover the garment and let it boil for about five minutes
after it has been brought to boiling. When several garments
are being boiled they should not be packed too tightly in the
boiler.
An Experiment to Do. — Have you ever boiled a garment and
found that it became covered with a scum and tiny particles of
dirt? This probably happened because the garment was boiled
in hard water without a sufficient amount of soap or without
softening the water. It is an interesting experiment to boil two
articles in hard water, one with a water softener and plenty of
soap, and the other with no water softener and very little soap.
The Importance of Rinsing. — Many people do not know
that rinsing makes a great deal of difference in the appearance
of a garment. In order to do this properly clothes should be
rinsed in several waters. The first rinsing water must be hot in
order to remove the soap and loosened dirt. Cold water causes
the soap to leave a sticky scum on the fabric. The last rinsing
water may be cold and sometimes bluing is added to this rinse
water in order to counteract any yellowness, but this is not
necessary if the clothes are properly washed and can be dried in
the sunshine. If the bluing should be put into the hot rinse
water the clothes will absorb too much bluing.
An Experiment to Do. — Certain kinds of bluing will cause
rust stains to form on the clothing if the soap is not well rinsed
out. Put a little liquid bluing in a test tube and add some caus-
tic soda or other alkali. Shake and heat gently.- If the blue
color changes to a reddish brown color, it shows that iron is
present. This is what happens when strong alkali soaps are used
with certain kinds of bluing. If you happen to get spots of iron
rust on your clothing while laundering, these spots can be re-
HOW TO DRY CLOTHES PROPERLY 243
moved with an acid. You have already learned how to do this.
See page 236.
Starching the Clothes. — Do you think a gingham dress or
collars and cuffs that have been laundered without starching
will stay clean as long as when they have been starched? Clothes
are starched not only for the purpose of keeping them clean
longer but also to give them a fresher and newer appearance.
The following is a good recipe for making starch.
1 quart boiling water.
iy2 tablespoonfuls of starch.
y2 teaspoonful of borax.
*/2 teaspoonful of white wax or fat.
Mix the starch with a little cold water. Then add the borax
and fat. Pour boiling water over this mixture and boil gently
for about ten minutes or until it becomes almost transparent.
Starch should be strained to prevent lumps and should be used
while hot. In starching clothes, the best results will be obtained
if the garments are turned wrong side out. When the garment
is dipped into the starch it should be thoroughly rubbed so that\
the starch is worked into the fabric. Be sure that the garment
is wrung out well so that there is no excess starch.
It is possible to buy a prepared starch in which the borax
and fat have already been added. Making and using this starch
is the same except that it is not necessary to add borax and fat.
Some Questions to Answer. — 1. What would happen to the
garment if the starch were made too thick?
2. What would happen if the starch were not properly
wrung out of the garment?
3. Describe a garment that has been properly starched.
4. Make a list of the articles that should be starched.
How to Dry Clothes Properly. — Most girls who help with
the family laundering hang the clothes out to dry as part of their
share of the work. The first thing to do is to wipe the clothes
line clean so that it will not make dirty marks on the clothes.
If you were hanging out the clothes and some of the yard were
244 CARING FOR CLOTHING
in the sunshine and some of it in the shade, which clothes would
you hang in the sunshine? Why? We should always take ad-
vantage of the sunshine whenever possible because it helps to
keep the white clothes bleached out white. Too quick drying
in hot air, as in the commercial laundry, may cause the clothes
to be yellowish. Why then is it that clothes from the commer-
cial laundry are generally so white? The answer is because
the laundry often uses chemicals for bleaching. What ad-
vantage is there in always shaking out the garment well before
hanging it on the line? Why are good laundresses always par-
ticular to hang clothes so that the wind blows through them?
In taking the clothes down, does the girl who folds the clothes
carefully as she puts them into the basket or the girl who jams
the clothes carelessly into the basket save more time when it
comes to the process of ironing? Often busy housewives do not
iron sheets and towels but merely pull them straight and fold
them carefully as they take them down from the line.
Do You Help with the Ironing? — How many girls in the
class help with the ironing at home? Decide with your class
what articles girls of your age should be able to iron. There are
several things to remember when you are ironing. One thing is
to sprinkle the clothes so that they are just damp enough to be
ironed easily. If they are too dry it is impossible to press out
the wrinkles and if they are too wet it takes too long to iron
them dry. Another thing to remember is that it is best to iron
each part dry as you go. Otherwise they will look rough instead
of glossy and smooth. A third thing that helps to do good
ironing is to pull the edges straight and keep the corners square
when ironing such articles as handkerchiefs, towels and napkins.
Watch a demonstration of ironing by your teacher or some-
one at home and make more rules that will help you to do good
ironing.
Laundering a Woolen Garment. — If you should wash
your woolen sweater or gloves and follow the same process as
that used for cotton and linen the garments would become harsh
LAUNDERING SILK 245
and shrunken. This would happen because boiling water causes
the wool fiber to shrink and mat. Strong soap, hard rubbing
and wringing will also cause your gloves and sweaters to shrink
and become harsh. When properly laundered wool remains
soft and fluffy. There are a few simple rules to remember when
you wash a woolen garment. First, the garment should be
washed and rinsed in warm water of the same temperature.
Second, it should be dried in warm air, because any extreme
change in temperature causes the fiber to shrink and mat. Third,
the garment should not be rubbed or wrung hard; the water
should be merely squeezed out. Fourth, if it is a garment that
requires pressing, use a medium hot iron.
Laundering Silk. — Probably one responsibility that you
have with respect to your own laundry is that of washing such
articles as silk ribbons and silk stockings. The laundering of
silk is similar to the laundering of wool. Silk should never be
put into boiling water because it weakens the fiber and destroys
the luster. Strong soap and drying in the sunshine will cause
silk to turn yellow. Like wool, silk should not be ironed with
a very hot iron.
A Problem to Do. — Each girl should launder one simple
article. If there is no laundering equipment in your school, each
girl should do it at home.
Judging the Success of Your Laundering. — When the ar-
ticles have been laundered, arrange an exhibit by laying them
out on tables so they can be inspected. Ask yourself the fol-
lowing questions about the article that you laundered and com-
pare your work with that of the other girls.
1. Is it clean and sweet smelling?
2. Is it pure white or is it gray or yellowish? If it is not
pure white, can you give the cause for its being yellow-
ish or muddy?
3. Is it properly starched?
4. Is it well ironed? If not, can you tell why?
5. Did it have the right amount of bluing?
246 CARING FOR CLOTHING
PROPER STORAGE OF YOUR CLOTHING
If you are intelligent about caring for your clothing prop-
erly you will store your winter clothes carefully during the sum-
mer. There is always danger that woolen garments may be
ruined by moths. The little, brownish gray moth first appears
during the warm weather in spring. She flies about trying to find
a woolen fabric in which to lay her eggs. She particularly likes
to find a garment or rug that is soiled and spotted because she
considers this an ideal place to lay her eggs. It pleases her most
of all to find a dirty woolen garment that has been put away in a
very dark closet. As soon as the eggs hatch the little worms or
larvae begin to feed on the woolen fibers. They eat holes in the
fabric which will entirely ruin the garment.
The best way to prevent this injury to clothing is to prevent
the moth from depositing her eggs. Since the moth does not
like sunshine, the clothes should be thoroughly sunned and aired
before putting them away for the summer. They should be
beaten and brushed to remove any eggs. Since the moth pre-
fers a dirty garment, it is best to have the garment clean before
packing it away. This means that the spots should be removed,
the garment dry cleaned if necessary and all dust brushed out
of seams and pockets. After cleaning, the garment should be
put in an air-tight box or bag or wrapped in paper. Naphtha-
line balls or cedar chips are often included because moths do not
like the odor. However, the odor will not prevent eggs that
were left in the garment from hatching out.
SOME THINGS TO DO AND SOME QUESTIONS TO ANSWER
If you have understood the problems in caring for clothing
that have been discussed in this chapter, you will be able to
answer the following questions and do the following exercises.
PART I
1. Why is it worth while to spend some time every day in
caring for one's clothing?
THINGS TO DO AND QUESTIONS TO ANSWER 247
2. List all the things that you can think of that will help you
to appear more neatly and attractively dressed.
3. Name three stains that you are likely to get on your cloth-
ing and tell how you would remove them.
4. What might cause the baby's woolen shirt to be ruined in
the laundry?
5. Describe the laundering of a silk garment. If you have
seen one that has been improperly laundered, tell what
was wrong with it.
6. Make a list of the steps you would follow in thoroughly
laundering white cotton garments.
7. The table linen laundered this week is gray looking. Tell
things which may have caused this.
8. Occasionally garments are returned from the laundry with
many small holes in them. What causes these?
9. Make two sketches showing the difference in the stitches
when you darn a hole in your stocking and when you
darn a straight tear.
10. Explain the process of dry cleaning and tell how it dif-
fers from ordinary washing.
11. Figure the cost of the weekly laundry for a family of four:
(1) when done at home by a laundress; (2) at a
commercial laundry, wet wash; (3) at a commercial
laundry, rough dry; and (4) completely done at a com-
mercial laundry. Under what conditions is it costly for
the housekeeper to do her own laundry?
PART II
1. Write a paragraph telling how to store your winter cloth-
ing and why we must take special care in storing it. At
the end of this chapter you will find a list of books which
will give you additional information on this topic.
PART in
The blank given below shows how you can keep a record
of the things that you do at home in caring for your own
248
CASING FOR CLOTHING
clothing. Every girl may not do all the things that are listed.
It will be interesting to compare your record with those of
other girls. Your record will show to what extent you share
responsibility in caring for your clothing. Copy the following
table on a page in your note book or on a blank sheet of paper.
Each night, record the number of minutes you have spent
during the day in caring for your clothing. If you wish to
keep this record for more than a period of two weeks copy this
blank again.
Record of Home Work in Caring for Clothing
Days
S
M
T
W
T
P
S
S
M
T
W
T
F
S
Brushing . .
Pressing
Shoes
Darning stockings ....
Patching.
Removing spots
Dry cleaning . ...
Laundry. .
Storage .
—
—
Total
—
Name-
Grade-
Record the number of minutes you spend each day doing
each of the things listed in the columns.
REFERENCES FOR FURTHER STUDY
1. Laundering. L. Ray Balderston. J. B. Lippincott Company.
2. " Removal of Stains from Clothing and Other Textiles." Farmer's
Bulletin No. 86 1, United States Department of Agriculture,
five cents.
3. " Clothes Moths and Their Control." Farmer's Bulletin No. 1353,
United States Department of Agriculture, ten cents.
4. Approved Methods for Home Laundering. Mary Beals Vail. The
Proctor and Gamble Company.
CHAPTER XII
SOME LABOR-SAVING DEVICES FOR CLEANING
THERE are many ways of making housekeeping easier. Some
of them are simple little things that require no expenditure of
money. There are other things that do require expenditure of
money, but they prove to be worth while. The old-fashioned
housewife was busy from morning until night, because she did
all her work in the most laborious way. The modern housewife
thinks of her housework as a problem to be solved and plans
to do it in the most effective way. If she can afford it, she buys
Jabor-saving devices to save her time and energy.
Sometimes it seems almost impossible to spend money for
this labor-saving equipment, but wise planning on the part of
the housewife and the cooperation of the family often make it
possible. Can you think of any way in which you can help to
buy a vacuum cleaner or a washing machine? Helping does not
mean that you need to earn money for the purchase of these
things, but rather that you do not insist on spending more than
your share of the family income. For example, if you very
much wish to have a new dress or coat that you really do not
need, could you not give this as your share toward the purchase
of household equipment.
How Convenient Arrangement Helps to Save Labor. —
Just the same as in your clothes closet and dresser, everything
connected with housework should be conveniently arranged to
save labor. Brooms, dust mops and dust cloths should be kept
in the closet or place that is most conveniently located so as to
get these tools speedily when needed. Sometimes it helps very
much to keep things in order to have a few hooks and shelves put
into closets. For example, it is a good plan to have a holder
249
250 LABOR-SAVING DEVICES FOR CLEANING
FIG. 117.
bought at a hardware store or two nails put up to hold the
broom as shown in Fig. 117. Why should the broom be turned
upside down if it is left standing on the floor? It is also a good
plan to have dust cloths kept in two or three conveniently lo-
cated places. This makes it possible to do a little quick dusting
without making a
trip to another part
of the house for the
dust cloth. If there
is an upstairs to your
home, do you think
it would be wise to
keep a second set of
tools upstairs?
List the things
in your house that
are conveniently ar-
ranged for doing the
cleaning. From these
lists make one class
list which might be
called " Helps in
Keeping House." If
there are any sug-
gestions that are par-
ticularly good or unusual, they might be sent to the local
paper or even to a household magazine. Ask your English
teacher to help you write these up properly.
How Long-Handled Tools Help to Save Energy. —
Have you ever realized that in selecting as simple a tool as a
dust pan, it is possible to choose one that will save energy? Look
at the picture in Fig. 118 and notice that the long-handled dust-
pan does not require the worker to stoop. It also keeps us from
getting dust in our faces. We would not think of using a whisk-
THE HEIGHT OF STATIONARY EQUIPMENT 251
broom to sweep our floors. Why not have all the tools that we
use to clean the floor made with long handles? It is certainly
much easier to scrub the floor if we have a long-handled mop
than to do it on our hands and knees. If we have a wringer
attached to the pail it is even possible to wring out the mop
FIG. i i 8.
without bending over. Do you know any other long-handled
tools that help to save energy?
How the Height of Stationary Equipment Saves En-
ergy.— Did you ever try to sit at a schoolroom desk that was
too small for you? Of course, it was not comfortable and you
could not work for long at such a desk. If you should have to
iron at a table that was much too high for you for a long time
or wash your clothes at a tub that was so low that it caused you
to bend over a great deal, you would, of course, become very
tired. Sometimes the housewife works at tables, sinks, laundry
tubs or ironing boards that are not the right height. Because
the height may not be very much too high or too low she may
not notice that it causes her to become very tired. A few min-
252 LABOR-SAVING DEVICES FOR CLEANING
utes' work at a surface that is not the right height may not
matter, but continued work will surely cause fatigue. Unfor-
tunately, the same height can not accommodate a tall person
and a short person. If you are shorter than your mother it
may be that the working surfaces in your home will be right for
FIG. 119.
you but too low for your mother. Which girl in Fig. 119 will
become tired more easily?
How Built-in Conveniences Save Labor. — Do you think
it is more convenient to have an ironing board that is attached
to the wall and can be let down into place or to have an ironing
board that is kept in a closet and has to be brought out and put
on a table? Some people find it convenient to fasten one end of
the ironing board to the wall in a small cupboard as shown in
Fig. 120. When the ironing board is not in use it can be folded
up against the wall and the door of the little cupboard closed.
Do you think there is any place in your home where an ironing
board can be attached to the wall in this way?
HOW BUILT-IN CONVENIENCES SAVE LABOR 253
FIG. 1 20.
Another built-in convenience that makes housekeeping
easier is the closet in the hall for coats and wraps. This makes
it easy for each member of the family to put his things away as
soon as he enters the house. It saves many steps in putting
things away and in getting
them when you want them.
It is also a great conveni-
ence to have a small closet
for cleaning tools. Did you
ever wish that there was a
better place in your house to
keep the broom, dust mop
and carpet sweeper ? Is there
any place where a small
closet could be built for this
purpose? Or can a part of
some present closet be used
for this purpose?
In some modern homes
the bathtubs are made so
that they extend down to the
floor and there is no place
behind them that needs to be
cleaned. Or bathtubs can be
set out a few inches from the
wall so that it is easy to clean
behind them. It is also easier to clean behind the radiator if it
is out from the wall a few inches. Have you ever tried to clean
behind a bathtub or radiator that was very close to the wall?
If your family should be planning to move into a new apart-
ment or to build a house you will wish to consider this matter
of built-in conveniences in making the selection. Can you think
of any other built-in conveniences that help to make housekeep-
ing easy? Make a list of the built-in conveniences that you
would like to have if you were building a new home.
254 LABOR-SAVING DEVICES FOR CLEANING
The Modern Method of Cleaning Requires Less En-
ergy and is More Hygienic. — Many labor-saving devices are
designed to make cleaning more truly hygienic than the old
methods. The vacuum cleaner which you use in cleaning rugs
absorbs dust rather than scattering it through the air. A carpet
sweeper absorbs dust to some extent and does not raise nearly
as much dust as a broom. Cloths that have been treated with
some special preparation, called dustless dusters, can be bought
for a small sum of money or can be made at* home (see page
208). These cloths also absorb dust rather than scatter^ it.
You can readily see how a room cleaned with a vacuum cleaner
and a dustless duster is more free from dust, germs and bacteria
than the room cleaned by the old-fashioned energetic housewife
who literally " raised a dust " with her broom and feather
duster.
Modern Labor-saving Devices. — The modern housewife
not only plans to save needless steps and waste motions in her
household tasks, but she also has as many modern labor-saving
devices in her home as possible. Many of these devices are
designed to save the housewife from physical strain. Why is it
easier to clean a rug with a carpet sweeper than by sweeping it
with a broom? When we use a broom, we have to move the
broom ourselves, but when we use the carpet sweeper the little
wheels turn the brushes for us. Even though we have to push
the carpet sweeper, it is easier than sweeping with a broom.
The carpet sweeper carries its own dust pan along with it. As
the brushes turn they throw the dust into the box in the sweeper.
The carpet sweeper is an excellent way to take up surface dirt,
but it can not be relied on to give the rug a thorough cleaning.
The most satisfactory way of giving a rug a thorough clean-
ing is with the vacuum cleaner. Like the carpet sweeper it car-
ries its own dust collector with it. The picture in Fig. 121
shows the bag which carries the dust. The vacuum cleaner
works on a different principle than the carpet sweeper or broom.
It takes the dust from the rug by means of suction. Try placing
MODERN LABOR-SAVING DEVICES
255
your hand near the slot and you will be able to feel this suction.
Some vacuum cleaners also have brushes which stir up the dust
before it is sucked into the bag. The suction is furnished by
electric power. Compare the amount of energy* required to
clean a rug by sweeping and. beating it with the amount of en-
FlG. 121.
ergy it takes to clean it by running the vacuum cleaner back and
forth over it.
Washing machines have taken the place of the old-fashioned
way of rubbing out the clothes on a washboard. The clothes
are put into a container filled with water which is stirred about
by some mechanical means. This movement causes the dirt
to be loosened and rubbed out in much the same manner as on
a washboard. In some machines the container itself is moved,
in others plungers stir the water, and in still others the clothing
is moved by rotating paddles. Again electricity furnishes the
power which does the work that formerly was all done by hand.
While the washing machine is doing the work, the housewife can
be attending to other household duties.
256 LABOR-SAVING DEVICES FOR CLEANING
FIG. 122.
Mangles, which are ironing machines, are often used in
homes as well as in commercial laundries. Can you tell from
the picture in Fig. 122 how
clothes can be ironed on a
mangle? How would this
save labor in ironing?
How the Sewing Ma-
chine Saves Labor. — In the
days of our great-grand-
mother s all clothing was
made entirely by hand and
no one thought the time
would ever come when most
of our sewing would be done
on a machine. In those days
girls had to sit long hours,
learning to sew fine seams by
hand. It was considered
very unfortunate if a girl could not do beautiful hand sewing.
Of course, it took much longer to make a dress or apron than
it does to-day because now FIG. 123.
all the long seams and hems
are stitched on the machine,
instead of being sewed by
hand. Indeed, it would be
very foolish to spend a long
time making things by hand
when they can be just as
well made and sometimes
better made on the machine.
Some Improvements in
Sewing Machines. — It is
interesting to know how sewing machines have changed in type
and appearance since they were first invented. One of the first
IMPROVEMENTS IN SEWING MACHINES 257
sewing machines, such as shown in Fig. 123, seems very queer
looking to us. This first type was operated by turning the
wheel by hand. The next type, which most people have in their
homes to-day, is operated by foot. The most up-to-date ma-
chines are driven by electric motors rather than by foot power.
Fig. 124 shows an electric sewing machine. Notice that there
is no foot treadle nor machinery in sight below the table. Have
FIG. 124.
Copyright, U. S. A., 1923-1926 by the Singer
Manufacturing Company. All rights reserved for all
countries.
you ever seen other types of electric sewing machines? An
electric motor can be added to the foot-power machine. Find
out how much an electric motor will cost for your sewing
machine at home.
An Excursion to see Labor-saving Devices. — It makes it
much more interesting and easier to understand these labor-sav-
ing devices if you can examine them. If possible plan an excur-
sion to a shop where you can have someone demonstrate how
these things work. If you were to buy one of these labor-saving
devices you would wish to study the various kinds so as to make
a wise choice.
Some Things to Discuss in Class. — 1. The girls who have
labor-saving devices in their homes should tell the class
how they have proved to be worth while.
258 LABOR-SAVING DEVICES FOR CLEANING
2. If you could have one of these labor-saving devices in
your home, which one do you think would be of most
value? Why?
3. Do you have other labor-saving devices in your home
that have not been discussed in this chapter?
4. Make a list of all the labor-saving devices you can find
out about and arrange them in the order you would
choose them for your home.
TO TEST OURSELVES
PART I
Complete each of the following sentences. Write out each
sentence, filling in the words or phrases that are needed. A
blank line is left for each word.
1. A housewife can save by keeping things in
2. A housewife can save energy if she selects
3. The modern - - of - - dust is more hygienic
and effective than - of a
dust.
4. The - - of an - — , a - or
a - — , has an effect on the length of time one can
work without becoming tired.
5. A house should be planned so that there is a - - for
, and a place to the
to the wall.
6. The - and - - should be placed so that it is
behind them.
— s, and — s
are electrical labor-saving devices.
8. - - on the part of the family makes it possible
- labor-saving devices.
9. Modern methods of cleaning save and —
SUGGESTIONS FOR FURTHER STUDY 259
PART II
1. A Ten-minute Test. — Make a list of as many things as you
can in ten minutes that make housekeeping easier.
2. Write a story about how an old-fashioned housewife learned
to save time and energy.
Suggestions for Further Study. — There are many inter-
esting topics in connection with labor-saving devices. For
example, devices that save labor in the kitchen, is a topic that
is worth study and thought. Perhaps you will consider this in
connection with your study of food preparation or perhaps
you will wish to study it in connection with this chapter.
Make a list of the topics suggested in this chapter and add
other topics which will be interesting for special study. The
books listed below will be helpful in finding material on these
topics. Magazine advertisements and booklets published by
various manufacturing concerns are also helpful.
1. Household Engineering. Christine Frederick. American School
of Home Economics.
2. Housewifery. L. Ray Balderston. J. B. Lippincott Company.
3. House and Home. Greta Gray. J. B. Lippincott Company.
4. Mechanical Devices in the Home. Edith Allen. The Manual
Arts Press, Peoria, Illinois.
5. Home Conveniences. Frederick W. Ives. Harper and Brothers.
6. Good Housekeeping Magazine, and publications of the Good
Housekeeping Institute.
CHAPTER XIII
ARRANGING YOUR BEDROOM SO IT IS ATTRACTIVE
AND CONVENIENT
You have already learned that one very important thing
in making a room attractive is to keep it clean and orderly.
However, the appearance of the clean and orderly room can
often be improved by rearranging the furniture and furnishings.
The two pictures in Fig. 125 show two different ways of
arranging the same furniture in the same room. Look at these
two pictures and try to think of them as designs rather than
as plans for the arrangement of furniture. Which one makes
you feel as though it had been carefully planned and arranged
in an orderly fashion? Any good, artistic arrangement of furni-
ture is an orderly arrangement. It is just as important to have
this kind of order in a room as to have things put away in their
proper places. The second picture in Fig. 125 seems more or-
derly because the rectangular-shaped pieces of furniture are
arranged so that they fit into the rectangular-shaped room in an
orderly way. The edges of the furniture are parallel with the
walls of the room. This orderly arrangement gives an effect
that we sometimes call unity. The furniture and rugs are ar-
ranged so that they are in harmony with the shape of the room.
Convenient Arrangement of Your Bedroom. — In ar-
ranging a bedroom we must not forget that convenience as well
as artistic effect must be considered. For example, the bed
should be in the best possible relation to the window for light
and air. It is very annoying to have a bed face a window, be-
cause the light, especially in the morning, may prevent one from
sleeping. Yet the bed should be near enough the window so that
the sleeper secures as much air as possible. Notice that the bed
in the second picture of Fig. 125 is well placed with relation to
260
CONVENIENT ARRANGEMENT OF BEDROOM 261
FIG. 125.
ARRANGING YOUR BEDROOM
light and air. What do you think of the position of the bed in
the first diagram? There are two things to consider in placing
the dresser properly. First, the mirror should be placed so that
the light falls on the person who is standing in front of it. If
the light comes from behind the person, the face is in shadow
and can not be seen clearly in the mirror. Second, the dresser
should be placed as near the closet as is possible, so that one
does not take unnecessary steps while dressing. Another point
to be considered in the arrangement of the bedroom is the gen-
eral effect upon entrance. A bed placed so near the door that
one has to walk around it gives the effect of a small, unattrac-
tive room.
A Problem to Do. — 1. Make a sketch showing the arrange-
ment of furniture in your room or some other room as
it is at present.
2. Before your next lesson take measurements of the room
and of each piece of furniture and rug. Have the
measurements written down so that you will be ready
to use them at your next lesson.
In making a plan for this room it will be necessary, of
course, to reduce it to a more convenient scale. A scale of one
foot to one inch or one-half inch is convenient to use, according
to the size of your paper. Mark and cut out a rectangle of
paper the proper size for each piece of furniture and rug. Draw
a rectangle of the correct size for the room, showing the location
of the doors and windows. Fig. 126 shows each piece of furni-
FIG. 126.
RUG
AN ATTRACTIVE WALL
263
ture ready to be placed in a room. Using pieces of paper to
represent the furniture is better than drawing on your paper
because you can move the papers about more easily in order to
try new arrangements than by redrawing. This scheme for
working out the best arrangement for a room is sometimes easier
than actually to move the furniture about. It is important,
however, that the drawing be done to an accurate scale. Other-
wise, you will find it possible to do things with your pieces of
paper that it is not possible to do with the real pieces of furniture.
Something to do at Home. — Can you rearrange the furni-
ture in this room or any other room at home so that it is more
conveniently and attractively placed?
An Attractive Wall. — An attractive arrangement for the
wall depends partly upon the placing of the furniture against the
FIG. 127.
wall and also upon
tures and other
In Fig. 12 7 you
and pictures
same wall in three
the first picture
no orderly and
arrangement. It has
lacking unity.
— PU
the way the pic-
decorations hang,
will see furniture
arranged on the
different ways. In
there is obviously
well thought-out
a cluttered, disorganized appearance
The wall has an unbalanced look because there
are so many things crowded to the left-hand side. Picture 2
shows a wall with a more balanced and orderly arrangement.
The bed is placed near the center and the other things arranged
264
ARRANGING YOUR BEDROOM
to balance on each side. What balances the one picture on the
left? In Picture 3 there is also a balanced arrangement,
although the bed is not placed in the center. How is it that
the large bed and picture are balanced by a chair and two small
pictures? If you will lay your pencil across the picture so
that it divides the wall in half, you may be able to answer this
question. Then you can see that the bed is placed much
nearer to the center than the chair and picture. When a large,
heavy weight balances a small, light weight, the heavy weight
must be placed nearer to the center.
This is more easily explained when one thinks of how boys
playing on a see-saw manage to balance each other. When
FIG. 128.
two boys who are of the same weight sit at each end of the
see-saw they have no trouble in balancing each other. In the
first picture of Fig. 128 you can see how two boys of the same
weight balance each other. In Picture 2 you can see what hap-
pened when, a big boy came along and insisted upon having one
end of the see-saw. What did the big boy do in Picture 3 so
that he balanced the little boy?
Which picture of a see-saw is like the first wall shown in
Fig. 127? Which picture of a see-saw is most like the second
wall shown in Fig. 127? Have you noticed that there are not
so many things on the wall in the second and third pictures as
in the first? This helps to avoid the cluttered appearance of the
first wall. Do you think you can rearrange a wall in your room
so that it will have a more orderly and balanced arrangement?
HANGING PICTURES
265
Can you suggest how the banner in Picture 1 can be hung so
that it helps to make the wall look unified?
Things to Remember in Hanging Pictures. — Artists
have given certain rules for hanging pictures which you should
know.
1. Hang pictures on the eye level so that they are easy to
look at. Does it not seem foolish to [hang a picture up
near the ceiling so that one has to crane one's ne<pk to
see it?
2. Two straight wires should be use'd to nang a picture in-
stead of one wire which makes a V-shaped angle on
top of the picture. Notice the picture wires in Fig. 127
and decide on which walls the wires help to give an
effect of unity.
3. Avoid queer arrangements of pictures such as " stair
steps " as shown in the first picture of Fig. 127. It is
advisable to avoid hanging two or more small pictures
that are exactly the same shape near together because
the general effect is apt to be monotonous.
4. When hanging pictures near to each other it is generally
FIG. 129.
a good rule to have the centers of the pictures on the
same level, as shown in Picture 3 of Fig. 129. This is
a better arrangement than to have all the tops of the
pictures or all the bottoms on a straight lirje as shown
in Pictures 1 and 2.
ARRANGING YOUR BEDROOM
Choose the best shaped wall space possible for a picture.
For example, the space between the windows in Fig.
130 is better suited for the picture that is nearly square
than for the long, narrow picture.
FIG. 130
6. Pictures should be hung so that they are flat against the
wall and not so that the top tilts out from the wall.
Attractive Windows. — Curtains serve two purposes, first
to secure privacy and second, to add attractiveness to the win-
FIG. 131.
dow. However,
a fine view from
the window
tive, there is no
curtains which
the view and
window. Have
window that was
out curtaining.
in case there is
a window and
itself is attrac-
need of adding
may obstruct
detract from the
you ever seen a
attractive with-
a window they
When curtains are hung at
should be planned so that they are in harmony with the struc-
OTHER ROOMS 267
tural lines of the room. Just as furniture and rugs should be
placed so that they are in harmony with the rectangular shape
of the room, curtains should be hung so that they are in har-
mony with the room. Windows are rectangular and conform to
the general rectangular construction of the room. When cur-
tains are added to the windows they should be in harmony with
this general structure. Instead of concealing the window with
draped curtains that are looped into many curves, it is better
to let curtains hang straight so that they conform to the
rectangle of the window. In Pictures 1 and 2 of Fig. 131 the
curtains are arranged in such a way that they are in harmony
with the shape of the window. Can you point out the lines of
the curtains in Picture 3 which are distinctly out of harmony
with the rectangular shape of the window?
Sash curtains which cover only the lower half of a window
are not considered a good type of curtain from the artistic point
of view. They fulfill only one of the purposes of a curtain,
to secure privacy, but they do not add to the attractiveness of
the window. The upper half of the window is left bare and
does not seem to belong to the lower half which has a curtain.
Consequently, the window does not seem to have unity.
A Problem to Do. — Sketch a good curtain arrangement for
your room.
Other Rooms. — The arrangement of the furniture in the
other rooms of the house offers the same problem as the arrange-
ment of furniture in your room. Pianos and davenports set
cornerwise and tables set askew are distinctly not in harmony
with the structural lines of the room. Often it is much better
to set a few of the chairs and perhaps other pieces of furniture
slightly at an angle in order that they may be more conveniently
used. This, however, is quite different from placing every piece
of furniture and every rug at the most cornerwise slant possible.
Wall arrangements that have good balance and unity are as
desirable in the other rooms of the house as in your bedroom.
The same rules for hanging pictures also apply in other rooms.
268
ARRANGING YOUR BEDROOM
Correct curtaining of windows is frequently even more of a
problem in other rooms than in the bedroom. Bedroom cur-
tains are generally kept simple, but often the living-room cur-
tains are made more elaborate in the attempt to make them
especially attractive. This often leads one to forget that truly
beautiful curtains will be in harmony with the window itself.
Projects to Carry Out at Home. — 1. Make a plan for rear-
ranging your room which you think will make it more
attractive. Make either a written or oral report to
your class about your plan.
2. Ask your mother if you may help her to rearrange some
other room. Explain to her what you have learned
that makes you think you could do it well.
3. Can you plan a better curtain arrangement for any of
the windows in your home?
4. Have you rehung any picture? Why?
CHECK-UP ON ARTISTIC ARRANGEMENT
FIG. 132.
PART I
How many things can you correct in the arrangement shown
in Fig. 132. Trace the wall and make a better arrangement.
CHECK-UP ON ARTISTIC ARRANGEMENT 269
PART II
Find a good and a poor curtain arrangement in a magazine
or newspaper. Write a brief statement telling why you think
that one is good and one is poor.
OTHER BOOKS TO READ
1. The Principles of Interior Decoration. Bernard Jackway. The
Macmillan Company.
2. Art in Everyday Life. Harriett and Vetta Goldstein. The Mac-
millan Company.
3. Interior Decoration. Frank Alvah Parsons. Doubleday, Page
and Company.
4. Art and Economy in Home Decoration. Mabel T. Priestman.
John Lane and Company.
5. Planning and Furnishing the Home. Mary J. Quinn. Harper
and Brothers.
CHAPTER XIV
FURNISHING YOUR OWN ROOM: FURNITURE,
WALLS, LIGHTING
SOMETIME it may be possible for you to do more than re-
arrange the things in your room. You may have the opportunity
to buy some new furniture and rugs, to have the walls refinished
and to buy new curtains. Let us " make believe " that you can
refurnish your room just as you would like to have it. You
will enjoy pretending that you are furnishing your ideal room
and perhaps sometime your " make-believe " room will come
true. There is much for you to learn about furniture, rugs,
walls, curtains and bedding. You must know how to make a
room attractive, comfortable and convenient to live in and how
to furnish it as economically as possible. This chapter dis-
cusses furniture, walls and lighting. In the next chapter you
will learn about rugs, curtains and bedding.
While you are working on this project you should save pic-
tures, samples of materials and price lists. You will be able to
get these things from advertisements in magazines and news-
papers, stores and catalogs. It is often possible to secure pic-
tures and other illustrative material by writing to firms that
advertise free booklets and samples.
HOW TO SELECT GOOD FURNITURE
When a wise housewife buys a piece of furniture she con-
siders carefully to be sure that she selects the most attractive
design that it is possible for her to buy. She knows what points
to look for in an attractive piece of furniture and examines each
piece for its lines, proportion, wood, color and finish.
Good Lines in Furniture. — Most furniture is rectangular
270
GOOD LINES IN FURNITURE
271
and box-like in its structure so that the structural lines are
straight. When curved lines are added to increase the attrac-
tiveness of the design, the curves should not interfere with the
rectangular structure. If the curves are too pronounced the
FIG. 133.
furniture is apt to look weak. Examine the table legs in Fig.
133 and try to answer these questions.
1. Which is the strongest and most graceful looking curve
for a table leg?
2. Which of the straight table legs do you consider most
graceful? Why?
3. Which of the straight legs do you consider most unin-
teresting?
4. What is wrong with table leg No. 1 ? With No. 2 ?
5. Which table leg do you like best?
Curves are often used on the tops of beds and dressers to
make their designs more graceful and attractive. Just as in the
table legs the curves must be good curves that combine well with
the general rectangular construction of the furniture. Exam-
ine the pictures of beds in Fig. 134 and answer the following
questions :
1. Which designs have good, strong curves that you think
combine well with rectangular construction?
2. Which bed lacks unity of line in the shape of the head
and the shape of the foot?
18
272
FURNITURE, WALLS, LIGHTING
3. Which bed has curves which make the design seem
restless?
4. Do you think a bed should look solid and comfortable to
sleep in? Which bed looks most solid and comfortable
to you?
A Problem to Do. — Make a sketch showing the shape of the
top of your bed. If you were a furniture designer do you think
FIG. 134.
you could improve upon it? If so, make another sketch show-
ing how you would do it.
Good Proportion in Design. — Proportion or good spacing
is an art principle that you study about in relation to furniture
as well as to dress. Perhaps you have already learned about
it in your art class. Good proportion in furniture means that
the different parts of the piece of furniture are spaced so that
they are interesting. When the spaces are exactly alike the
effect is monotonous and ordinary looking. Which dresser in
KINDS OF WOOD USED IN FURNITURE
273
Fig. 135 is unattractive because the space for the mirror and for
the bottom part of the dresser are exactly alike? How is this
proportion varied in the other dresser? Notice the way the
FIG. 135.
drawers are spaced in each dresser and decide which you think
is better looking.
Problems to Do. — 1. Find a picture of a dresser that you
think is well proportioned and be prepared to explain
to the class why you think so.
2. Criticize some piece of furniture in your classroom for
its proportion.
Kinds of Wood Used in Furniture. — The kind of wood
used contributes much to the beauty and attractiveness of a
piece of furniture. The woods which probably are best known
and are most widely advertised for furniture are oak, mahog-
any and walnut. Each of these woods has its particular charac-
teristics and can be recognized by one who has studied woods.
Mahogany is finished with varying shades of red and brown
stain and generally shows comparatively little grain in the fin-
ished wood. It takes a very smooth and lustrous finish so that it
is especially prized for furniture. Very often birch which is a
cheaper wood is used to imitate mahogany. Most of the fur-
niture that is advertised and sold as mahogany is really made
274 FURNITURE, WALLS, LIGHTING
of birch with a mahogany finish. Ask the manual training
teacher or a furniture dealer if he can show you how to dis-
tinguish between real mahogany and birch with a mahogany
finish.
Walnut is also a hard wood and is sometimes difficult to dis-
tinguish from mahogany. It is as beautiful as the mahogany,
taking the same smooth, lustrous finish. In color it varies from
the lighter tones to soft, dark, rich shades of brown. Most
furniture that is sold as walnut is really made of gum wood with
a walnut finish. You can see, therefore, that it is important to
be able to distinguish real and imitation walnut. If possible
you should get someone to show you the difference. There is a
kind of wood called Circassian walnut which is not a walnut
at all but a kind of ash, having a very prominent grain. Some
people do not like this wood for furniture because the very
marked swirling lines of the grain in the wood are disturbing.
Oak is a very hard, strong wood and is best used for heavy,
strong pieces of furniture. It is finished in varying colors, one
of these being a light yellowish brown known as golden oak.
Many people think this is disagreeable because of the rather
bright and glaring color. The soft, dark brown color given to
oak is perhaps the most beautiful and agreeable to most people.
Another finish sometimes used has a greenish, gray tone which
is very beautiful. Do you know the names used by furniture
dealers for different finishes in oak? The furniture manufac-
turer sometimes imitates oak by printing the grain on other
woods. When the real oak and the imitation are compared it
is easy to see the difference.
In order to be a good judge of furniture, it is necessary to
understand a process used in the making of furniture called
veneering. This process consists of gluing a thin layer of wood
onto the surface of another piece of wood. If the veneering is
not well done and becomes unglued at the edges, it seriously
mars the piece of furniture. Sometimes an expensive wood is
glued onto cheap wood, thus giving the appearance of a solid
FURNITURE SUITED TO ITS PURPOSE 275
piece of wood. Furniture made with this process may be attrac-
tive and serviceable. But when expensive mahogany is veneered
onto a cheap, soft wood it should not be sold at the same price
as solid mahogany. Some of the finest furniture is also made
by the process of veneering, for example, a thin strip of mahog-
any may be glued to another piece of mahogany. This is done
to prevent the warping which may occur with a single solid
piece of wood. Thus it may be seen that veneering is used in
making fine furniture and also to imitate fine furniture.
Things to Observe. — 1. Can you find out what woods are
used in the furniture and woodwork of your classroom?
2. Make a list of the kinds of wood used in the furniture
and woodwork of your home. If you can not name
them all ask your mother and father to help you.
3. Study newspaper advertisements to see how many you
can find that advertise furniture with a walnut or ma-
hogany finish and how many advertise genuine walnut
or mahogany. Compare the prices.
4. How many kinds of wood can you recognize? Ask the
manual training teacher if he has any samples of wood
which you can study.
Finish Affects the Attractiveness of Furniture. — Two
oak chairs which are made in exactly the same way may be
made to look very different by the finish. One chair might be
stained a bright, yellowish color and varnished so that it is very
shiny. The other chair might be stained a soft, rich brown and
then rubbed until it has a lustrous, glossy polish. Do you not
think that the second chair would be far more beautiful?
Furniture Suited to Its Purpose. — If you make a wise
selection in your choice of furniture you will be sure that each
piece is thoroughly suited to its use. A dresser generally serves
two purposes, first to provide drawer space in which to keep
clothing and, second, to provide a mirror. If you wished to
have a dressing table instead of a dresser, but had no other place
in which to keep your underclothes, the dressing table would not
276
FURNITURE, WALLS, LIGHTING
be a wise choice. Some people prefer to have a chest of drawers
rather than the dresser because of the additional drawer space.
The chest of drawers often has several shallow drawers instead
of two deep ones as in the dresser. The shallow drawers are
more convenient to use and make it easier to keep things in
order. However, the chest of drawers has no mirror and even
though a mirror is hung above, it is so high that it is not of much
FIG. 136.
use. This objection is overcome if a long mirror is hung else-
where in the room. Each girl must decide what is best suited to
her particular needs.
Sometimes a housewife selects a large, handsome piece of
furniture to put in a small room. The piece of furniture in itself
may be very fine and beautiful but when it is placed in a small
room the effect is not good. The room appears crowded and the
furniture seems out of place, because it is not well suited to its
use. In buying furniture for your room it will be helpful
to ask yourself these questions:
1. Is a dressing table, a dresser or a chest of drawers most
suited to my needs?
2. Is the bed comfortable to sleep in?
BUY GOOD FURNITURE 277
3. Is the furniture too large to look well and to be con-
venient to use in a small room?
4. Does the desk or table have sufficient room for the knees?
5. Is the chair at the desk the right height?
6. What other questions will you add to this list when you
select furniture for your room?
It Is Worth While to Buy Good Furniture.— The intelli-
gent buyer knows that it is wise to buy the best furniture that
one can afford. Furniture lasts a very long time after it is pur-
chased, often being handed down from generation to generation.
A coat and a table may cost about the same amount of money
but there is great difference in the amount of service to be ex-
pected from each. The coat will be worn two or three years,
but the table may last a lifetime. Does it not seem reasonable
to spend more money for a table which lasts such a long time
than for a coat? Good furniture is strong and durable, made
out of good wood, and well put together. If the class can plan
a visit to a furniture store or factory it will prove interesting
to ask the salesman to show you how different pieces of furni-
ture are constructed so that they are strong and durable.
A good plan which many housewives follow in furnishing
their homes is to add one or two fine pieces of furniture each
year until the whole house is well furnished. They consider
this better than buying several cheap pieces of furniture that
will have to be discarded. Perhaps you could make your " make
believe " project of furnishing your room come true if you
adopted such a plan as this.
To Test Yourself^ — 1. Can you name the three most im-
portant qualities in good furniture? If necessary, re-
view pages 270 to 275.
2 . Plan the furniture which you would like to have for your
room. Make a list showing the name of each piece,
kind of wood and finish, and the cost. This list will
show what you have learned about furniture.
278 FURNITURE, WALLS, LIGHTING
ATTRACTIVE WALLS
How to finish the walls of a room is sometimes very much
of a puzzle and an interesting one to solve. In order to know
what is best for the walls of your room you must study the
different kinds of finishes and the cost of each.
What is Good Wall Paper? — A wall is lor the purpose of
holding up the roof and shutting off other rooms. It is a flat,
solid thing and its decoration should help to keep this feeling
of flatness and solidity. Walls covered with a paper that has a
pattern of realistic bouquets of flowers, or trailing grapevines
lose this appearance of flatness and solidity. Wall paper which
has pictures of roses, houses or other objects is called pictorial.
Artistic wall paper should make the wall seem just as flat and
solid as it really is and since pictorial wall paper is not flat and
solid looking, it is in bad taste. Good wall paper has what is
called decorative or conventionalized design. Which wall paper
in Fig. 137 is pictorial and which is decorative?
A good wall paper also makes the wall a good background
for the room. It has a type of design that prevents the wall
from being conspicuous or from seeming to jump forward out
of its place. Which wall paper in Fig. 137 makes a good back-
ground for a picture? Why? Which of these wall papers
would make a room look smaller and more crowded?
When are Painted Walls Attractive? — If we should de-
cide to use paint as a wall finish, we must know what makes
painted walls attractive. We have already learned that walls
are the background of a room. When a wall is painted with a
shiny kind of paint that reflects the light unpleasantly, it is not
a good background. Sometimes the plastered walls are left
with a rough finish that prevents the shiny effect when they are
painted. If the wall is smooth, a kind of dull paint called calci-
mine is often used. This is a kind of water paint and can not
be easily cleaned because it spots with water. There is another
dull finish paint made with oil which can be cleaned. The shiny
'*•
280 FURNITURE, WALLS, LIGHTING
finish or enamel paint is useful, of course, in bathrooms and
elsewhere as needed.
Questions About Wall Finishes. — 1. How are the walls fin-
ished in your school building? Do you like them?
2. Do you know any trade names for calcimine?
3 . Can you find out how calcimine is bought and how much
it costs?
4. Would you use wall paper or paint if the plaster is
cracked and unsightly?
5. Why is oil paint a good finish for bathroom and kitchen
walls ?
6. Find out how wall paper can be cleaned and when it is
advisable to have it done.
Color in Walls. — Color is an important factor in making a
wall a good background. Even a plain-colored wall may be a
very bad background in spite of the fact that it has no pattern.
This happens because some colors will not remain in the back-
ground. Strong, bright colors seem to advance and make the
wall seem nearer.
An Experiment with Color. — Try an experiment with col-
ored papers in your classroom so that you will understand this
better. Collect samples of as many different blue papers as
you can find that are in large enough pieces so that they can be
seen easily from across the room. Sometimes the girls in the
class can bring samples of wall paper from home or an old
sample book of wall papers can be secured from a store. Put
the papers upon the wall and decide which blues make the best
backgrounds. Do some of the papers seem nearer than others?
Try this same experiment with different shades of pink paper.
Texture in Wall Paper. — As you examined the papers for
color you may have noticed that some of the papers are smooth
and others rough in effect. Other papers may have a mingled,
composite color effect that is not evident except on close inspec-
tion. Yet from across the room the effect is much nicer than
that of the plain, smooth paper. The quality of roughness or
COST OF WALL FINISHES 281
smoothness in paper is called texture. There can be the same
difference between two pieces of blue paper as between two
pieces of cloth, for example, blue gingham and blue velvet.
Select a paper that you think has a beautiful texture. How many
words can you think of which will describe it?
Making a Dark Room Bright and Cheerful. — If you
have a dark room you can make it lighter and more cheerful by
selecting the right color for the wall. Of course, you will select
a light color because a dark color such as brown, dark green or
gray will make the room seem darker than ever. Some colors
are more cheerful and give an effect of more warmth than
others.
Another Experiment with Color. — Try an experiment with
some colors to see if you can decide which colors give the most
effect of warmth. Place some samples of greens, reds (pink is
a light red), yellows and blues, together and choose the two
colors that give the most feeling of warmth. Do you agree with
the artists who say that red and yellow are warm colors and
that green and blue are cold colors?
Of course, you will not choose a brilliant red or a brilliant
yellow for the walls of a dark room because they would be too
bright for a good background color. However, a soft shade of
pink, which is a kind of red, or a pale cream yellow will make
good colors for a dark room, because they are both light and
warm in effect. Is orange a warm or cool color? In what kind
of a room do you think it would be correct to use green or blue
for the color of the walls?
Cost of Wall Finishes. — Calcimine costs a few cents a
pound and it generally requires about ten pounds for an average-
sized room. Can you find out what it costs to have a painter
calcimine a room? Sometimes people who do not understand
how to do it, try to calcimine their own walls. The result is
very streaked and botchy looking. Do you think this is real
economy. However, many people do learn to calcimine their
walls and thereby save expense. Have you ever helped to do this
282
FURNITURE, WALLS, LIGHTING
FIG. 138.
at home? Can you tell the class what things to be careful about
when calcimining or painting?
Wall paper comes in rolls of varying widths and lengths.
One standard size roll is twenty inches wide and eight yards
long, another size is thirty inches
wide and five yards long. In figuring
the cost of papering a room first
measure the room for breadth and
length. From these dimensions you
will be able to compute the number
of rolls required for the ceiling. Fig.
138 shows the ceiling of a room nine
feet wide and twelve feet long. The
paper to be used is twenty inches wide and is put on lengthwise
of the room, which means that each strip will be twelve feet
long. How many strips will it require to cover the ceiling?
How many rolls? Remember that the roll is eight yards or
twenty-four feet long.
The side wall paper is put on in up and down strips. If the
wall is nine feet high and twelve feet across, each strip will be
nine feet long and it will take eight strips. However, if a door
that is four feet wide and eight feet high cuts off part of the
wall, not as much paper is needed.
(See Fig. 139.) How many strips
will be needed? How many rolls of
wall paper ? Remember that you can
not buy part of a roll. So even if
you need only a few inches extra you
must buy a whole roll.
An Arithmetic Problem. — Meas-
ure your own room and estimate how
many rolls of paper it would take to paper the room if the
paper was twenty inches wide and eight yards to the roll.
Remember to allow for windows and doors. How much would
the paper cost if it were thirty cents a roll?
FIG. 139.
GOOD LIGHTING IN YOUR BEDROOM 283
Selecting the Wall Finish for Your Room. — Pretend
that you have the opportunity to have your walls refinished
exactly as you would like to have them. Write a description of
what you would have done, including an answer to the following
questions.
1. What kind of a wall finish is most suitable? Why?
2. If you selected paper is it the kind that makes the wall
look flat and solid?
3. Did you consider the amount of light in the room?
4. Is the color a good background?
5. How much will it cost to refinish the walls? This should
include the cost of the labor as well as of the material.
Your mother or father will be able to help you esti-
mate the cost.
Woodwork. — The woodwork around the doors and win-
dows should be considered as a part of the wall. It is a part of
the background and should not be of a color that is too con-
spicuous. Just as with furniture, the highly varnished finish is
apt to be conspicuous and unpleasant. We do not change the
color or finish of our woodwork as often as we refinish the walls.
Consequently, it is generally best to choose a color for the wall
that harmonizes with the woodwork. A cheap and satisfactory
way of making old woodwork more attractive is by painting it.
A Problem to Consider. — Do you think the kind of wood-
work in your classroom and in your room at home artistic?
How would you change it if you had the opportunity?
GOOD LIGHTING IN YOUR BEDROOM
Good lighting is always arranged so that it is most conveni-
ent to use. The common arrangement which is to have only one
central light which hangs from the ceiling is bad for two reasons.
If you are working at your desk there will be a shadow on the
desk, or if you are looking into the mirror your face is in the
shadow. The central light also often makes an unpleasant
glare. The lights should be placed where they are most useful,
284
FURNITURE, WALLS, LIGHTING
one at each side of the mirror and one at the desk, as shown in
Fig. 140. Physicians tell us that when we are reading or writing
the light should be placed so that it does not shine into our
FIG. 140.
eyes. This arrangement not only is convenient but gives a more
charming effect.
Lamps and Lampshades. — What do you think are the im-
portant things to consider from the artistic point of view in
selecting a reading lamp or floor lamp? Before you read the
following paragraphs, try to remember what you learned about
artistic furniture, and wall paper that can be applied to lamps.
FIG. 141.
In Fig. 141 which lampshade is in good proportion to the
lamp base? Which shade is too large? Which shade is too
small? Which lamp base has well placed decoration?
LAMPS AND LAMPSHADES
285
Study the lamps in Fig. 142 and decide which one has more
pleasing lines. Which lamp has weak, scrawly curves that seem
to give it a queer, weak appearance? It is no better taste to
have a lampshade decorated with pictorial effects than to have
a wall or rug that is pictorial. Is it not queer to have an electric
light shining through a landscape painted on a parchment
shade? Do you think the artificial roses sewed on the shade in
Fig. 142 are appropriate? What other features in the first
FIG. 142.
lamp are pictorial and should be avoided? It seems to be a
common mistake to over-decorate lampshades with lace ruffles
and gold braid. Have you ever seen a lampshade that was over-
ornamented? What have you learned about color that will help
you to select good color for your lampshade?
Helpful Things to Do. — 1. Draw a plan of your room show-
ing where the lights should be located and write an
explanation of why you think so. Do not forget the
location for one base plug, at least, for attaching a
vacuum cleaner and floor lamp or table lamp.
286 FURNITURE, WALLS, LIGHTING
2. Find a picture of a lamp that you think is artistic and
write an explanation of why you think so. Do the
same with the picture of one that you think is not
artistic.
Projects to- Carry Out at Home. — Has this chapter sug-
gested anything which has been useful to you at home? Have
you carried out any project at home either in your own room or
in other rooms of the house? It will make an interesting lesson
if each girl reports on the things that she has done or plans .to
do. Some typical projects are suggested below.
1. Have you helped to' select any piece of furniture? Were
you able to point out the particular things that make a
piece of furniture desirable? Describe your experi-
ences in selecting this piece of furniture.
2. Have you helped to paint orrefinish any piece of furni-
ture? Why did you select the kind of finish which
was used?
3. Have you found any fine old piece of -furniture in the
attic which has good lines and is worth refinishing?
4. Have you helped to select the wall paper or color of the
paint for a room? On what basis did you make your
selection?
5. Have you helped to calcimine or paper the walls of a
room?
6. Have you been able to improve the lighting in your room
by means of extension cords or otherwise?
Something to Think About. — If you could do one thing to
make your home more attractive what would you do? Buy a
new piece of furniture? Refinish the walls? Plan new light-
ing? Perhaps you have learned enough so that your mother
and father will appreciate your suggestions and permit you to
help plan for new things.
OTHER BOOKS TO READ 287
TO TEST WHAT YOU HAVE LEARNED ABOUT FURNITURE,
WALLS AND LIGHTING
PART I
Find three pictures of chairs, tables or other pieces of
furniture. One of these is to be the best design that you can
find, the second is to be average in the quality of design and
third is to be poor in design. Mount these pictures and write
an explanation telling why No. 1 is good in design, why No. 2
is not so good and how it could be improved, and why No. 3
is very poor.
PART II
You should be able to answer the following questions with-
out referring to the previous pages.
1 . Do you think it is possible- for a figured wall paper to be a
better background for pictures than a plain colored wall?
Why?
2. Do you think it is possible for a wall paper to have flowers
in the pattern and yet be flat and decorative?
3. Explain how to estimate the cost of .papering a room.
4. Explain why a wall paper with naturalistic pictures of
landscapes is not artistic.
5. From what you have learned about good lighting describe
what you think would be good lighting for the living
room; for the dining room; for the kitchen.
Other Books to Read. — The subject of interior decoration
is so important that many books have been written on the sub-
ject and many magazines are published monthly. A few of
these are listed below and you will find many others in your
school and public libraries. Decide upon some particular topic
in which you are interested and see how much material you can
collect on the subject. You should be able to use the table of
contents and index in each book to help you find your
special topic.
19
288 FURNITURE, WALLS, LIGHTING
BOOKS
1. Art in Everyday Life. Harriett and Vetta Goldstein. The
Macmillan Company.
2. Color in Everyday Life. Louis Weinberg. Moffatt, Yard and
Company.
3. Interior Decoration for the Small House. Amy Rolfe. The
Macmillan Company.
4. Costume Designing and House Planning. Estelle Peel Izor.
Mentzer, Busch and Company.
5. House and Home. Greta Gray. J. B. Lippincott Company.
6. Planning and Furnishing the Home. Mary J. Quinn. Harper
and .Brothers.
MAGAZINES
House and Garden. Conde Nast Publications, New York.
House Beautiful. House Beautiful Publishing Company, Boston.
Arts and Decoration. Arts and Decoration Publishing Company,
New York.
The Good Housekeeping Magazine. International Magazine Com-
pany, New York.
CHAPTER XV
FURNISHING YOUR OWN ROOM: CURTAINS,
RUGS, BEDDING
HAVE you ever realized that the rug on your floor, the cur-
tains at your windows, and the sheets and blankets on your bed
are all textile materials? Each of these materials is made in a
particular way so that it is suitable for its purpose. Would it
not be queer to have a curtain at your window that is made like
the rug on your floor? You will find it interesting to study
how to select these textile materials from the standpoint of at-
tractiveness and durability.
SELECTING YOUR CURTAINS
Curtains in Harmony with the Room. — It is impossible
to select the curtains properly without thinking about the rest
of the room. Curtains should be of a color that is in harmony
with the general color scheme of the room. They should be par-
ticularly harmonious with the color of the wall and woodwork
because they really form a part of the wall. A figured curtain
material is generally in harmony with the wall if the back-
ground color of the curtain material is the same as that of the
wall. In using plain-colored materials a violent contrast of
color is best avoided. In a room where there is no other white
used, the white curtain makes a violent contrast. The curtains
are staring and out of place. Often in bedrooms the very light
walls and white bedspreads make it possible to use white cur-
tains with very good effect.
Figured curtain materials, such as cretonnes, are not well
adapted to use in rooms where the wall paper has a definite,
clearly marked pattern. If both the curtains and the wall paper
289
290
CURTAINS, RUGS, BEDDING
have definite patterns they " fight " with each other for atten-
tion. It is easy to see in Fig. 143 that figured curtains are more
attractive with plain walls.
The design in figured curtain material should not be pic-
torial. It is no more in good taste to have roses and flying birds
FIG. 143.
pictured in your curtains than on your walls. Of the two cre-
tonnes pictured in Fig. 144, which is pictorial and which is
decorative ?
An Experiment to Try. — The class should practice combin-
ing curtain materials and wall papers. Sample lengths of cur-
tain materials and a wall paper sample book furnish an oppor-
tunity for practice.
A Study of Standard Curtain Materials. — You can not
very well purchase your curtain materials unless you know how
to recognize good and poor qualities in materials. Appoint a
committee to go to the stores and get samples of curtain mate-
rials. The committee should get samples of cretonne, dotted
Swiss, scrim, marquisette, casement cloth and net. Perhaps the
other members of the class will be able to help the committee by
getting samples of materials at home which they can bring
to school.
Curtain Materials Contest. — It makes the study of cur-
tain materials more interesting if the class decides to have a
contest to test their ability to recognize curtain materials. This
will consist of being able to recognize twelve curtain materials
and being able to spell their names correctly. The contest will
m
i
292 CURTAINS, RUGS, BEDDING
be conducted in the same manner as the cotton cloth contest
described on page 38.
In order to conduct this contest it is first necessary to col-
lect samples of twelve curtain materials. Six of these materials
are described in the following paragraphs and the other six may
be selected from the samples which are brought in. After there
has been> sufficient time for study of the samples you will be
ready for the contest.
ATTENTION
It is necessary to have real samples of
materials in order to learn anything about
kinds and qualities.
Cretonne. — A good quality of cretonne is firmly woven and
does not have a sleazy, thin appearance and feeling. Examine
your samples for a firm weave by feeling, pulling and holding
them up to the light. What weave is used in most of the sam-
ples of cretonne that you have? Another name often used inter-
changeably for cretonne is chintz. However, when a distinction
is made, the chintz has a smaller pattern and is a lighter weight
material. Is this true of your samples? Most of our fine
chintzes come from England, where they are very much used
for draperies.
Dotted Swiss. — What words can you think of to describe
this material? Since dotted Swiss is a sheer material, permit-
ting considerable light to filter through, for what kind of a room
will it make a suitable curtain material? In the best qualities
of dotted Swiss the dots are woven in so that they will not
ravel or pull out when the material is washed. In the cheap
grades the dots are pasted on and come off when the material
is laundered. Can you find any samples where the dots are
pasted on?
Scrim. — This material always has a plain weave. How
does this plain weave differ from the plain weave used in ere-
CASEMENT CLOTH 293
tonne? How does scrim compare in price with dotted Swiss?
It is very durable and launders well without stretching out of
shape. How can you always recognize scrim after the study
of the samples?
Marquisette. — At a little distance scrim and marquisette
look very much alike. Examine the sample of marquisette
closely to see how the weaves differ in the two materials. The
weave used for marquisette, which is shown in Fig. 145, is called
the gauze weave. You will note that in FlG I4S>
place of each warp thread used in the
plain weave there are two warp threads
in the gauze weave that are twisted
around each other. This makes it
possible to have a material that is
very open in weave and yet strong. Do
you think scrim or marquisette is a more durable material?
Why? How do prices of marquisette compare with those
for scrim?
Net. — Examine your samples of net and see if you have the
three varieties of meshes, round, hexagonal and square. The
square mesh is called filet net and is the most desirable for cur-
tains, because it launders well without stretching out of shape. If
you have net curtains at home that stretched out of shape when
they were laundered, examine them to see what shape mesh
was used in making them. You probably will find that they
were made with a round mesh, because the round mesh stretches
most easily in laundering. How does net compare with scrim
and dotted Swiss as to the amount of light which passes
through it?
Casement Cloth. — How would you describe the color of
your samples of casement cloth? Most casement cloth is made
with a plain weave. Do you have any samples with stripes or
figures woven in? Most people consider this a particularly
good material for curtains because it is durable, launders well
294 CURTAINS, RUGS, BEDDING
and affords privacy without keeping out too much light and air.
It is sometimes used in the place of roller shades.
Which of the curtain materials that you have studied per-
mit the least amount of light to enter? Which permit a great
deal of light to enter? Which permit a medium amount to
enter?
A Problem to Do. — In order to be economical in the pur-
chasing of curtain material it is necessary to consider the width
of the material in relation to its price. For example, is it
cheaper to buy curtains for a window six feet high of material
that is fifty inches wide at seventy-five cents a yard or of a
material that is thirty inches wide at fifty cents a yard?
Buying Curtains Ready-made. — If you plan to buy your
curtains ready-made you should consider the following things.
First, is the quality of workmanship good? Are the edges firmly
and neatly finished in the ready-made curtains? Second, is the
quality of material in the ready-made curtain as good as the
quality of material bought by the yard? Third, is the ready-
made curtain the right size and shape for the window with-
out altering?
Standards for Judging Curtain Materials :
1. Is it artistic in design and color and suited to the room
in which it is to be used ?
2. Is the general appearance one of good quality or is it
cheap and sleazy?
3. Is the material durable? Are there thin spots where the
threads will break and holes appear ? The tests which
you learned for underwear material can also be used
for curtain materials.
4. Will it launder well without stretching and pulling out
of shape?
5. Will it fade in the sunlight? When laundered?
6. Is the material of the right weight so that it permits the
right amount of light to enter?
WHAT IS AN ARTISTIC RUG? 295
The Problem of Selecting Your Curtains. — Select the sample
of curtain material that you think is best suited to your own
room. Write your reasons for this selection, according to the
six standards listed in the preceding paragraph. Estimate the
cost of your curtains explaining whether it will be cheaper to
buy them ready-made or to make them at home. Girls who
need new curtains at home may be able to actually buy
their curtains.
CHOOSING YOUR RUG
Before you read the following paragraph, stop and think
what you learned about artistic walls and curtains. Can you
think how the same ideas can be applied to floor and rugs.
Write your ideas on a piece of paper and then read the para-
graph below to see if they are correct.
What Is an Artistic Rug? — An artistic rug is one which
makes the floor more beautiful. A floor is a flat, solid thing
upon which we walk. The artistic rug makes the floor seem
just as flat and solid but more pleasant to walk upon than the
bare floor. A rug which has realistic pictures of flowers, dogs
or other objects does not seem to lie flat upon the floor nor does
it seem right to walk upon the pictures of flowers and animals.
The same thing is true of the floor that is true of the wall : its
decoration should be flat and solid. A rug which seems to
" jump up " when you enter a room does not keep the floor flat.
The finest rugs do not have patterns that are pictorial in
character.
There are other things which may prevent a rug from seem-
ing to remain flat on the floor. A rug which has a very conspicu-
ous pattern, even though the pattern is not pictorial, seems to
rise up and " hit you in the eye." Colors that are too strong or
bright have the same effect.
The floor is the foundation of the room, and it always seems
more like a good foundation if it is darker than the walls and
ceiling. Consequently, a rug that is very light in color or has
296
CURTAINS, RUGS, BEDDING
large light-colored areas in the pattern is not a good floor
covering.
To Test Your Judgment of Artistic Rugs. — Collect pictures
of rugs from magazines and catalogs. Mount the picture of
the rug that you would like to have for your room and be pre-
pared to explain to the class why you think it is a good selection
from the artistic point of view.
ATTENTION
It is necessary to have samples of rugs to
examine while you are studying rugs. Other-
wise you can not learn kinds and qualities
of rugs.
How to Know Different Kinds of Rugs. — The first thing
to do is to discuss ways and means of securing samples of rugs
or real rugs to examine while you are studying the following
pages about rugs. Sometimes girls can bring pieces of rugs
or small rugs from home, sometimes your teacher will have
samples of rugs and sometimes you can arrange visits to stores
or factories. It should be your aim to learn to recognize at least
six kinds of rugs, to know the particular characteristics of each
of these rugs and to know good and poor qualities.
Brussels Rugs. — This kind of rug got its name because it
was first made in Brussels, Belgium. You will always be able
to distinguish a Brussels rug by the small loops covering its
surface. Can you pick out a piece of Brussels rug from your
samples? Try running a wire hairpin under a row of these
loops. This will help you to understand that the loops were
made when the rug was woven by passing the yarn over wires.
This kind of weave where some of the yarns are left raised from
the surface is called the pile weave. Why is a rug made from
the pile weave more agreeable to walk upon than a rug made
with a plain, flat weave?
WILTON AND VELVET RUGS 297
The quality of a Brussels rug depends to some extent on the
thickness of the looped pile. A good Brussels rug should have
not less than nine loops per inch. How many loops per inch
does your sample of Brussels rug have?
There are two kinds of Brussels rugs. The genuine Brussels
is made by weaving different colored yarns into the jabric so
as to form the pattern. One way of distinguishing this rug is
by examining the back where the colors show through faintly.
The exact pattern does not show through clearly but has a
somewhat streaked effect. Tapestry Brussels is a cheaper,
lighter weight rug than the genuine Brussels. In this rug the
colors are either printed on the yarn before it is woven, or the
rug is woven and the colors are printed on the jabric. The back
of this rug shows no color at all, only the plain grayish tan of
the foundation cloth.
Wilton and Velvet Rugs. — The Wilton rug received its
name because it was first manufactured in Wilton, England.
This rug is made in exactly the same way as a Brussels rug
with the yarns woven over -wires to form loops. Imagine that
the hairpin which you put through the loops of the Brussels rug
had a sharp knife-like edge. This is what happens in making
a Wilton rug. The wires used have a knife edge and when the
wire is pulled out it cuts the loops. The ends which have been
cut stand up as in fur and are called pile. Can you see why the
Wilton rug is more difficult to clean than the Brussels? Would
you expect the Brussels or the Wilton rug to make a softer
floor covering?
Just as in a Brussels rug, the quality of a Wilton rug depends
partly on the closeness of the pile. Since the pile has been cut
it is easier to count the closeness of the pile on the back of the
rug. One can judge the closeness of the pile to some extent
by its general appearance. Have you ever seen a rug that looks
poor and cheap because the pile is thin and of poor quality?
Just as a tapestry Brussels rug is made in a cheap way and
298 CURTAINS, RUGS, BEDDING
the colors printed on the fabric, the Wilton may also be made
in a cheaper rug by printing the colors on. When the Wilton is
made this way it is called a Wilton velvet or a velvet rug.
Would you expect the colors to show through on the back of a
velvet rug? Why does it not make as durable a rug when the
colors are printed instead of woven in? When the rug becomes
somewhat worn, the color wears off the top and the rug looks old
and gray. Generally, one can detect the velvet rug by its gen-
eral appearance' because the pile is short and thin.
Axminster Rugs. — This kind of rug was first made in the
town of Axminster, England, two centuries ago. Compare your
sample of Axminster rug with the Wilton rug. Do you think
you could always tell an Axminster rug from a Wilton? How?
The Axminster has a longer pile and a more uneven texture than
the Wilton rug. This unevenness is due to the way in which the
rug is made. Instead of the pile being made over wires as in the
Wilton, it is made by pulling in each tuft of yarn separately as
the weaving progresses. Originally these tufts were knotted in
by hand, but now they are put in by machinery. If you bend
your piece of rug back sharply you will be able to see these tufts
and to count them. The greater the number of tufts that are
put in the thicker and better the rug will be. This rug has a
long, soft pile, and in the cheaper grades it is not a very durable
rug because the nap wears off and comes out easily when
cleaned.
Oriental Rugs. — These are hand-made rugs from the
countries of the Orient — Persia, Turkey, and China. The pile
is all knotted in by hand with an especially firm knot that pre-
vents the tuft from being pulled out as in the Axminster rug.
These knots can be seen if the rug is folded so as to show the
foundation weave. Oriental rugs are considered the most dur-
able and beautiful that have ever been made and there is so
much to learn about them that some people have made a life
study of them. It is interesting to study the different patterns,
RAG RUGS
299
how the yarns are dyed and about the lives of the weavers. Per-
haps some girl in the class may have time to make a special
report about these rugs. Fig. 146 shows a picture of an Ori-
ental rug. FIG. I46.
Rag Rugs. •HHHHHBaBBGSB«^™»K»«™-— •—
— At the time
of the Ameri-
can Revolu-
tion the most
common floor
covering in
America was
the rag rug.
They were
made with
strong cotton
or linen
threads for |
warp and
strips of cloth
for filling
threads. Some-
times the strips
of cloth were
braided and
then sewed to-
gether into
oval or cir-
cular shaped
rugs. These
rag rugs are so attractive and charming that they are now
made by machine and sold in stores. In what places do you
think it appropriate to use this type of rug? Crochet and
hooked rugs are other varieties of rugs made from strips of
cloth. How many kinds of rag rugs have you seen?
300 CURTAINS, RUGS, BEDDING
Other Types of Rugs. — Rugs are made from jute, grass,
linen and hemp, all of which make a coarse, harsh texture.
These are frequently advertised for use in any room in the
house, but they are most suitable for porches and summer cot-
tages. The texture generally does not fit in with the furnish-
ings of living-rooms and bedrooms. Another rug much adver-
tised for any purpose is the linoleum rug. Since this rug is as
hard and even smoother than the bare floor, it in no way adds
to the attractiveness or softness that is desirable on the floors
of living-rooms, bedrooms and dining-rooms. Where would
you recommend using linoleum?
Choosing Your Rug. — Pretend that you can purchase ex-
actly the kind of rug that you would like to have for your room.
Be prepared to tell your class about it as to size, cost, color
and kind. Perhaps you can find a picture in a magazine or
catalogue. Most people prefer to have small rugs on the bed-
room floor rather than one large rug. What difference does this
make in the cleaning? In any room where a large rug is used,
it should be of a size to permit a good margin of floor to show
around the edge. In making your selection it would be well to
consider the following points.
1. Will it make the floor seem flat and inconspicuous?
2. Will it harmonize with the rest of the room?
3. Is it heavy enough to remain flat on the floor without
curling at the edges ?
4. Is the pattern woven in?
5. Is the pile thick? Test this by folding the rug between
the fingers to determine how easy it is to see the foun-
dation weave.
6. Can it be easily cleaned?
7. Is its general appearance one of good quality, or is it
cheap and gaudy looking?
A STUDY OF BED COVERLETS
301
FIG. 147.
SELECTING YOUR BEDDING
A Study of Bed Coverlets. — Choosing the bed cover is
part of the art problem in furnishing your room attractively.
It makes a large spot of color and should be in harmony with
the other colors
in the room. In
which of the two
rooms that are
described below
would you use a
white bedspread?
One room is fin-
ished with light,
cream - colored
walls, and white
painted wood-
work. The cur-
tains are of white
dotted Swiss and
the furniture is
KMMSL
•[••••MM ;
I • m
?|
•JK&
?>OTVV_ jpt
painted light
gray. The other
room has ma-
hogany colored
woodwork and
furniture, dark
blue and red rugs, rose gray walls and brightly colored
cretonne curtains.
A few years ago the white bedspread was considered the
only correct bed cover. Recently the colored bedspreads have
become popular. Many years ago, in the days of our great-
grandmothers, colored bed coverlets were commonly used.
These were hand-woven and often very beautiful in design.
Fig. 147 shows a part of one that was made with a blue and
white pattern. Perhaps some girl in the class can bring
302 CURTAINS, RUGS, BEDDING
a hand-woven coverlet from home so that the class can
see it.
ATTENTION
It is just as important to have real materials
to work with in studying bedding as when
you were studying curtains and rugs.
An interesting way to study, bed coverlets will be to answer
these questions about each of the following kinds: Marseilles,
riplette, dimity, crochet or honeycomb. Crochet is a trade
name used for a heavy material that is not at all similar to
hand-made crochet.
1. Does it wrinkle easily?
2. Will it soil easily?
3. Is it light weight so it will be easy to handle in laundering?
4. How expensive is it?
5. Can it be secured in colors?
6. Will it launder well?
7. What words describe the texture of each kind?
8. What special characteristic has each cover that distin-
guishes it from the others?
9. What other kinds of materials are suitable for bed-
spreads?
The Bedding That Keeps Us Warm. — Have you ever
wondered why the blankets on your bed are made with a soft,
fluffy nap? The purpose of the blanket, as you know, is to
keep you warm and the fluffy nap on the surface of the blanket
helps to do this. You will remember that when you studied
about underwear you learned that air is a poor conductor of
heat and that materials which have many tiny air spaces are
warmer than other materials. This is the reason that blankets
are made with the fluffy, napped surface. The nap is raised by
brushing or scratching the surface of the blanket after it is
THE BEDDING THAT KEEPS US WARM 303
woven. Which do you think is warmer, a blanket with a thin
nap or with a thick, heavy nap? Why? What other materials
do you know that are made with a napped surface?
On a very cold winter night would you rather have a cotton
blanket or a woolen blanket? Why? The woolen fiber is a
poor conductor of heat and prevents the heat of the body from
escaping. Can you think of an occasion when a cotton blanket
would be more comfortable than a woolen blanket? Although
the woolen blanket keeps us warmer it is not always desirable
to have an all-wool blanket. A pure wool blanket is expensive
and is difficult to launder. Therefore, many people think that
a combination wool and cotton blanket is more satisfactory
because it is cheaper and more easily laundered.
Instead of blankets you may have quilts or comforters on
your bed to keep you warm. Comforters, which are also called
comforts or comfortables, are made by covering a cotton or
wool wadding with some soft material, such as sateen or silka-
line. Which would be warmer, a cotton or a wool filling in a
comforter? The cotton-filled comforter or blanket loses its
fluffiness and mats more easily when washed than the wool com-
forter or blanket. Why would a cotton blanket that has been
washed a great many times not be as warm as a new cotton
blanket?
Quilts are made with less filling than is put into comforters,
which, of course, makes them less warm and lighter weight.
They are fastened together by rows of stitching instead of being
tied together as comforters are. Many of these are what our
grandmothers called " pieced quilts," because they are made by
piecing together many small pieces of cloth. Comforters are
also often made with " pieced " covers. Some of these are very
beautiful in design and color. It is an interesting art problem
to study the design of quilts. Have you any " pieced quilts "
at home? Do you know the names of any " pieced quilt "
patterns?
£0
304 CURTAINS, RUGS, BEDDING
Sheets and Pillow-cases. — Have you ever wondered why
it is that sheets and pillow-cases are not finished with a napped
surface like blankets? When we stop to think about it we know
that the smooth texture of the sheet and pillow-case is more
comfortable to sleep on than the fuzzy texture of a blanket.
For this reason sheeting is always made with a plain weave and
a smooth finish. One standard by which we judge sheeting is
the smoothness and evenness of its texture. Examine some
samples of sheeting and pick out those which are smoothest and
finest in texture. Sheeting varies from coarse, unbleached mus-
lin to a high-grade percale sheeting.
Sheets not only protect us from the roughness of the blankets
but they protect the blankets from becoming soiled by constant
use. They should be long enough to tuck under the mattress
properly and to turn back sufficiently so as to keep the edges of
the blankets and quilts clean. The most popular length for
sheets is ninety-nine inches, but many people prefer the 108-inch
length in order to turn back at least ten inches over the blankets
and comforts. Some sheets are only ninety inches in length,
but these are so short that they are very unsatisfactory.
Since sheets and pillow-cases are used to protect the other
bedding from becoming soiled they must be laundered fre-
quently. Such frequent laundering makes it desirable to have
durable material that will not wear out too rapidly. If you are
buying bed linen you will find it helpful to ask the following
questions in judging its durability.
1. Is it a close, firm weave? An open weave will not wear
well. This can be tested by holding the cloth between
the fingers and trying to separate the yarns. If the
yarns separate easily it is not a close, firm weave.
2. Is the sheeting made of strong yarn? This can not be
tested in ready-made sheets, but if you are buying
sheeting by the yard, a thread can be ravelled out and
tested for breaking strength.
MATTRESSES AND PILLOWS 305
3. Does the sheeting have a pasty look? When the sheet-
ing is loosely woven it is often heavily sized or starched
to make it look firm. If the sizing is very heavy it can
be detected by scratching the cloth with the fingernail.
Samples from the sheeting can be tested by rubbing
between the fingers or by washing. When the sizing
washes out it leaves the material limp and sleazy.
A Problem for You to Do. — Is it cheaper to buy sheeting and
make the pillow-case, or to buy pillow-case tubing or to buy
pillow-cases ready-made?
Estimate the amount of money saved if you should buy
material for two sheets and two pillow-cases and make them
at home, instead of buying them ready-made. Your mother
may be able to help you with this problem.
What Makes a Bed Comfortable to Sleep On. — Why is
it that beds are made with springs and mattresses instead of
being made with a hard surface like the top of a table or a
floor? Perhaps you have heard someone say, " That is a com-
fortable bed." This means that the bed is just soft enough for
the body to lie straight without the beti sagging in the middle
or is not so hard that it is uncomfortable to sleep upon. Why
would it be injurious to one's health to always sleep on a bed
that sags badly in the middle? In buying mattresses and
springs we should be sure that they are of a good quality so
that they will not soon give way and sag after they have been
used for a short time.
Mattresses and Pillows. — The most commonly used mat-
tress is the cotton- felt mattress which is made by building up
the padding in layers as shown in Picture 1 of Fig. 148. This
makes a better filling than where the cotton is merely stuffed
into the ticking. The cotton-felt mattress when made of good
quality cotton gives very good service and is very comfortable.
Some mattresses are made with springs inside like the auto-
mobile seat, as shown in Picture 2 of Fig. 148. These are very
306
CURTAINS, RUGS, BEDDING
comfortable because the springs keep the mattress from becom-
ing hard and matted. However, this mattress should be of good
quality. Otherwise the springs may become weakened, causing
the mattress to sag and become bumpy and uneven. Have
you ever seen the seat of a chair or an automobile where this
has happened?
A filling that is sometimes used instead of cotton is the
fluffy down that comes from the seed of a plant similar to a milk-
FIG. 148.
weed. This is called kapok and makes a soft fluffy filling, as
shown in the third picture of Fig. 148. Kapok is likely to mat
down after use and become bumpy. Sofa pillows are often
stuffed with kapok. Why would it be a very unsatisfactory
filling for bed pillows? The most commonly used stuffing for
pillows is feathers. Goose or duck feathers make the best filling
because they are light and fluffy. Chicken feathers are heavy
and do not make as comfortable a pillow. Why would a bed
pillow stuffed with cotton not be comfortable?
Some Ways That Help to Keep the Bedding Clean.—
Good housekeepers generally keep a thin pad on the top of the
mattress. This makes the mattress more comfortable to sleep
on and also keeps it from becoming soiled. It can easily be
laundered, which is, of course, not the case with a mattress.
Mattress pads can be bought ready-made to fit the bed or old
blankets and quilts make satisfactory substitutes.
Some housekeepers protect the mattress by covering it en-
tirely with a strong material such as muslin. Another device
MAKING A PLAN FOR YOUR REAL ROOM 307
to help keep the bedding clean is to cover the top and bottom
edges of blankets, quilts and comforters with a thin cotton
material such as silkaline or cheesecloth. This cover should be
sewed on by hand, so that it can easily be removed and
laundered.
Questions to Answer About Your Own Bedding. — 1. What
bedding would you like to have for your bed if you
could have exactly what you desire? Remember to
plan for different seasons of the year.
2. Do you know any standard makes of mattresses or bed
springs? Study magazine advertisements and visit
stores to learn about them.
Making a Plan for Your Real Room. — Although it is fun
to plan an ideal room regardless of expense, you should learn
how to plan for your real room.
1. Find out what it cost to furnish your room as it is.
2. If you could change one thing in your room what would
it be?
3. Decide by discussion and class vote what amount of
money should be allowed for furnishing a girl's
bedroom.
4. Make a plan showing how you would spend this amount
of money to furnish your bedroom. This plan is to
include the necessary things for the bedroom and the
cost of each.
TO TEST WHAT YOU HAVE LEARNED ABOUT CURTAINS,
RUGS AND BEDDING
PART I
1. What six points will you keep in mind in buying curtain
material?
2. What process is the same in the making of the tapestry
Brussels rug and the velvet rug?
3. List seven points to remember in selecting a rug.
308 CURTAINS, RUGS, BEDDING
4. How can you identify a genuine Brussels rug? A Wilton
rug?
5. Under what conditions do you think it advisable to use a
white bedspread?
6. What kind of bedspread would you select for your own
room? Why?
7. Why is marquisette especially durable for curtains?
8. List the points that should be considered in buying sheets.
PART II
1. Find three samples of one kind of curtain material such as
scrim or cretonne. One sample is to be poor in quality,
one sample is to be medium in quality and one is to be
very good in quality.
2. Find three pictures of rugs. One rug is to be good in design,
one is to be medium in quality of design and one is to be
very poor in design. Write explanations of why one is
poor, one is medium and one is good.
3. Make two sketches of designs for cretonne, one that is
pictorial and one that is decorative. You may copy,
trace or originate these designs.
4. Make two tracings of the curtains in Fig. 143, Picture 1.
Omit the pattern in the curtains. Color the walls and
curtains in one tracing so they are harmonious. Color
the other tracing so it is inharmonious. Use paints,
crayons or chalks.
Additional Reading. — There are many books that will
give you more information about curtains, rugs and bedding.
The books and magazines that are listed at the end of Chap-
ter XIV deal with art problems and the books listed at the
end of Chapter VII deal with problems relating to kinds
and qualities.
INDEX
Absorption of dust, 254-255
Accounts, keeping of, 190
Adulteration, 160
Alleys, 219
Alteration of patterns, 41-42, 171-
172
Amount of material for
bloomers, 87
kimono, 39-40
one piece dress, 170-171
Arrangement
curtains, 266-267
furniture, 260-265
pictures, 265-266
walls, 263-265
Artificial silk fiber, 139-140
Axminster rugs, '298
B
Backyards, 219
Balance
wall arrangement, 263-265
Basting, 26-27
Bathroom, cleaning, 215
Bed, airing, 201
Bed bugs, how to get rid of, 210
Bed coverlets
color in, 301
kinds, 302
selection of, 301-302
standards for judging, 302
Bed making, 199
time used in, 200
Bedding
blankets, 302-303
comforters, 303
coverlets, 301-302
mattresses, 305-306
pillows, 306
pillow cases, 304-305
quilts, 303
sheets, 304-305
to keep clean, 306-307
Beetling, 153
Benzine, caution, 210
Berkeley cambric, 37-38
Bias
cutting strips, 46-47
facings, 47-49
Bibliographies
budget, 198
care of clothing, 248
clothing selection, 198
community hygiene, 222
dress design, 133
furniture, 288
garment construction, 184
healthful clothing, 80
household pests and how to get rid
of, 222
hygiene, community, 222
personal, 133
interior decoration, 269
labor saving devices, 259
laundering, 248
lighting, 288
methods of cleaning, 222
speed in household tasks, 222
textiles, 166
walls, 288
Binding, 49-50
Blankets
cotton vs. wool, 302-303
selection of, 303
Bleaching, 147
Bloomers
amount of material, 87
cutting out, 87-88
experimenting with patterns, 83,
104
finish at top, 92-96
history of, 81-82
materials for, 84-87
modified patterns, 101-104
placket, 93-94
putting together, 88-92
seams, 90-92
selecting pattern, 83-84
309
310
INDEX
Bobbins
kinds, 12
movement of, 20-21
winding, 12-13
Brussels rug, 296-297
Budget
clothing, 186-187
definition, 185-186
girls working, 187
inventory, 187-188
Button, how to sew on, 100-101
Buttonhole, 97-100
Calendaring, 149
Care of clothing, 223
brushing, 225
darning, 228-230
dry cleaning, 237-238
habits, 226-227
hangers, 224
laundering, 239-245
patching, 230-232
pressing, 225
removal of stains, 232-237
shoes, 225-226
storage, 246
Carpet sweeper, 254
Casement cloth, 293
Chambray, 37-38
Chintz, 292
Cleaning
a plan for, 214
bathroom, 215
bathtub, 215
lavatory, 215
toilet, 217
washing windows and mirrors, 209
weekly, 206
Cleanliness
bedding, 306-307
hair, 127-128
hands and nails, 129-130
skin, 128-129
teeth, 130
underclothing, 76-77
Clothing
budget, 185-190
conspicuous, 193
design, 109-127
girl's budget, 187
harmonious, 194
Clothing, hygienic, 61-80
inventory, 187-189
laundering, 239-245
principles of selection, 192-196
storage, 246
survey of clothing problems, 6
Collars
types, 170
making, 175-176
Color
adjacent harmony, 122
circle, 118-121
complementary harmony, 122-124
in bed spreads, 301
in relation to complexion, 124-126
mono-chromatic harmony, 121-122
selection of curtains, 289
Comforters, 303
Continuous placket, 93-94
Corsets, 69
Cotton fiber, 135-136
Crepe, 37-38
Crepe effects, 150-151
Cretonne, 292
Curtains
arrangement of, 266-267
color, 289
pictorial vs. decorative, 290
selection of, 289-295
standard materials, 290-294
standards for judging, 294
Cutting out garments
kimono, 42
bloomers, 87-88
one piece dress, 172-173
Design in
curtain arrangement, 266-267
curtain materials, 289-290
dress, 109-127
furniture, 270-273
lamps, 284-286
lamp shades, 286
pictorial vs. decorative, 278, 290
rugs, 295
wall paper, 278-281
Dotted Swiss, 292
Dress
cost, 180-181
cutting, 172-173
fitting, 174-175
INDEX
311
Dress, kimono type, 32, 58-59
making, 173-180
with set in sleeves, 158-159
Dress design
appropriateness, 126-127
color, 118-126
hair dress, 114
harmony of line, 109-112
line in relation to different figures,
112-113
neck lines, 113-114
proportion, 114—118
Dry cleaning, 237-238
Dust in your community, 219
Dusting, dustless, 208
Dyeing, 147
Economy in spending, 190
Economy of time in bed making, 199
cleaning more than one room, 214
keeping things in convenient places,
202
morning schedule, 205
Evaporation of moisture, 73-75
Fell seam, 90-92
Felting, 152-153
Fibers
artificial silk, characteristics of,
139-140
cotton fiber, characteristics of, 135-
136
evaporation of moisture, 73
heat conduction, 71-72, 302-303
linen, characteristics of, 140-141
silk fiber, characteristics of, 138-
139
wool fiber, characteristics of, 137-
,13.8
Finishing textile materials
beetling, 153
calendaring, 149
crepe effects, 150-151
felting, 152-153
mercerizing, 149-150
napping, 151
singeing, 150
sizing, 14&-149
weighting, 153-154
Fitting a dress, 174-175
Flannelette, 37-38
Floor plans, 260-263
French seams, 43-45
Furniture
arrangement of, 260-265
good line in, 270-272
good proportion in, 272-273
kinds of finishes, 275
kinds of wood, 273-275
selection of, 270-277
suited to use, 275-277
Galatea, 84, 86
Garment construction
bloomers, 81-108
dress, 167-181
kimono, 32-60
Gasoline, caution, 210
Gathering, 96-97
Gauze weave, 293
Gingham, 37-38
Girl's clothing budget, 187
H
Habits
care of clothing, 226-227, 248
clothing and health, 79-80
housekeeping, 221
of putting things away, 203
Hair dress, 114, 127
Healthful clothing
cleanliness, 76-77
evaporation of moisture, 73-75
freedom of movement, 69-70
how to keep cool, 75-76
how to keep warm, 70-75
shoes, 62-67
stockings, 68
wet clothing, 74-75
Hems
curved edge, 50-52, 179-180
straight edge, 27-28
Hemming stitch, 177
Housekeeping
economy of time in, 221
in the community, 218-220
score card, 211
survey of housekeeping problems, 7
312
INDEX
Hygiene of
clothing, 61-80
hair, 127-128
hands and nails, 129-130
housekeeping, 220
lighting, 283-284
skin, 128-129
teeth, 130
Inventory, clothing, 187-189
Ironing machines, 256
Khaki, 103
Kimono
amount of material, 39-40
cutting, 42
experimenting with patterns, 32-34
hem at bottom, 50-52
making pattern, 34-36
materials for, 37-38
modified patterns, 58-59
neck finish, 44-50
seams, 43-45
selecting pattern, 36
types of patterns, 32
Kimono dress, 58-59
Knickers, 102-104
Knitted materials, 143-144
Labor-saving devices
built-in, 252-253
convenient arrangement, 249-250
electrical, 254-257
height of working surfaces, 251-252
long handled tools, 250-251
Lace
kinds, 52-53
putting on, 53-55
Lamps, 284—286
Lamp shades, 284-286
Laundering, 239-245
Length of machine stitch, 18
Lighting
artistic lamps, 284-286
convenient arrangement, 283-284
Line, harmony of
in dress, 109-112
in furniture, 270-272
Linen fiber, 140-141
Longcloth, 37-38
Lonsdale cambric, 37-38
M
Mangles, 256
Marquisette, 293
Mattresses, 305-306
Mercerizing, 149-150
Mirrors, washing, 209
Morning schedule, 205
Mosquitoes, 220
N
Napping, 151, 302
Neck finishes, 44-50, 175-177
Neck lines, 113-114
Net, 293
\^
Oriental rugs, 298-299
Outing flannel, 37
Overcasting, 179
Pajamas, 101-102
Patching, 230-232
Patterns
alteration of, 41-42, 171-172
collars, 170
experimenting with, 32-34, 83, 104,
170
kimono, 32
knickers, 102-104
making kimono pattern, 34-36
modified kimono patterns, 58-59
one piece dress, 168-169
pajama, 101-102
selecting bloomer pattern, 83-84
selecting kimono pattern, 36
sleeves, 169
underslip, 59-60
Pattern weave, 146
Percale, 37-38
Pictures, hanging of, 265-266
Pile weave, 145-146
Pillow cases, 304-305
Pillows, 306
Placket, 93-94
Plain seam, 26
Plain weave, 85-86, 144-145
INDEX
313
Proportion
combining materials, 117-118
definition, 114-115
in collars, 115
in furniture, 272-273
in hats, 117
in human figure, 116-117
Quilts, 303
Rag rugs, 299
Rayon, 139-140
Ready made vs. home made
curtains, 294
dresses, 180-181
Rooms, cluttered, 204
keeping in order, 212
your share in caring for other, 213
Rugs
artistic, 295
kinds of, 296-300
selection of, 295-300
standards for judging, 300
Sateen, 84, 87
Satin weave, 86-87, 145
Scrim, 292-293
Seams
fell, 90-92
French, 43-45
plain, 26
Sewing machine
bobbins, 12-13, 20-21
care of, 23
difficulties in stitching, 23-24
electric, 257
feed, 21
first type, 256
how the stitch is made, 20-23
length of stitch, 18
needle, 19-20
starting to stitch, 16-18
tension, 18-19
threading, 13-16
treadling, 10-12
winding the bobbin, 12-13
Sheets, 304-305
Shoes
care of, 225-226
Chinese, 62
effect of wrong shoes, 66-67
heels, 65-66
kinds, 162-164
shape of, 64-65
size of, 62-63
Silk fiber, 138-139
Singeing, 150
Sizing textile materials, 148-149
Sleeves, 169, 178-179
Smoke in your community, 219
Stains, removal of, 232-237
Stitches
basting, 26-27
buttonhole, 97-100
Gathering, 96-97
hemming, 177
overcasting, 179
overhanding, 54—55
Stitching on the machine
causes for difficulty, 23-24
contest, 29-31
practice exercises, 16-17
starting to stitch, 16
Stockings
care of, 227-228
darning, 228-229
hygiene, 68
kinds, 161-162
Storage of clothing, 246
Sweeping, 207-208
Tapestry brussels, 297
Tension, 18-19
Testing materials
adulteration, 160
cotton, 38-39, 154-156
linen, 156-157
silk, 159-160
wool, 157-159
Tests
arrangement of furniture, 269
bedding, 308
caring for clothing, 246-248
check up on healthful clothing,
77-80
color, 132
color circle contest, 120-121
314
INDEX
Tests, constructive processes, 107-
108, 183-184
cotton cloth crossword puzzle, 106-
107
curtain materials, 290, 292, 308
economy of time in housekeeping,
221
furniture, walls, lighting, 287
hygiene, 133
hygiene of housekeeping, 220
judgment in selecting clothing,
196-197
knowledge of textiles, 164-166
labor saving devices, 258-259
on harmony of line, 131
on hems and seams, 31
on proportion in dress design, 131-
132
printed and woven patterns, 148
recognition of cotton materials, 38
rugs, 307-308
sewing machine contest, 29-31
Use of patterns, 55-58, 104-105, 183
Textile materials
bleaching, 147
dyeing, 147
finishing, 148-154
kinds, 37-38
knitted, 143-144
printing, 147-148
standard curtain materials, 290-294
testing, 38-39, 154-161
weaves, 85-87, 144-146
worsted, 151-152
Thimble, 28
Threading of sewing machine
lower thread, 14-16
upper thread, 13-14
Treadling, 10-12
Twill weave, 86, 145
U
Underslip, 59-60
Vacuum cleaner, 254-255
Velvet rugs, 297-298-
W
Waist band, 94-96
Wall paper
background, 278
estimating cost, 281-283
pictorial vs. decorative, 278
texture, 280-281
Walls
balanced arrangement, 263-265
color, 280-281
cost of finishes, 281-283
good backgrounds, 278, 280
hanging pictures, 265-266
painted, 278-280
paper, 278
woodwork, 283
Washing machine, 255
Weaves
effect on body heat, 71, 74, 302
kinds, 85-87, 144-146, 293
Weighting, 153-154
Wilton rugs, 297-298
Windows, curtaining of, 266-267
washing, 209
Wool fiber _
characteristics of, 137-138
felting, 152-153
woolen, 151-152
worsted, 151-152
Worsted, 151-152
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